et
anf
rk
| PAINTING
SCULPTURE
ANTIQUES
APPLIED ART
1925
DEC 3
The ART NEWS
An International Pictorial Newspaper of cArt
~ |
DECORATION
ART AUCTIONS
RARE BOOKS
MANUSCRIPTS
Vol. XXIV—No. 8—WEEKLY
NEW YORK, NOVEMBER 28, 1925
Entered as second class mail
mm. &-
P. O., under Act of March 3, 1879
matter,
PRICE 15 CENTS
A Joyous Sculpture by Harriet Frishmuth
—
“JOY OF THE WATERS”
Courtesy of the Grand
This characteristic work by a sculptor whose
attention was recently sold by
ee _ 7
Jiudl
By HARRIET FRISHMUTH
Central Art Galleries
work has attracted international
the Grand Central Galleries.
$4,850,000 FOR TOLEDO
MUSEUM FROM LIBBEY
Also Leaves His Great Residuary
Estate as a Trust Fund for the
Gallery—Director Gets $100,000
TOLEDO—Under the terms of the
will of the late Edward Drummond
Libbey, glass manufacturer and art pa-
tron who died Nov. 13, the Toledo
Museum of Art receives total bequests
of $4,850,000. In addition, the residuary
estate of the late art lover is to be con-
verted into a trust fund for the institu-
tion that owes its existence largely to
his generosity before his death.
When all the plans are carried out,
there will be besides the present enlarged
building, just being completed, a building
for instruction of music, and another
building for the instruction of fine arts.
His private collections will be acquired
for permanent additions to the many
already given by Mr. Libbey.
The total appraisal of the Libbey es-
tate will be between $35,000,000 and
$40,000,000. Approximately $10,000,000
was left to relatives and friends and old
employes. George W. Stevens, director
of the Toledo Museum of Art, will re-
ceive $100,000. —F, S.
PRUSSIA BUYS «FAKE”
STATUE, CRITIC SAYS
Paul J. Schmidt, Art Historian, Casts
Doubt on “The Attic Maiden,”
Purchased for Museum of Antiques
BERLIN.—Some weeks ago, as told
in Tue Art News, the German govern-
ment decided to buy a Greek marble
statue for the Museum of Antiques in
Berlin. The purchase was made in the
face of an uproar of contradictory opin-
ions, the main objection being that many
German artists were on the point of
starvation.
And now Paul J. Schmidt, art critic
and historian, writing in Vorwaerts,
gives a long list of reasons for believ-
ing the statue is .faked. He declares
that on the whole it gives the impres-
sion of being early German or late
Roman art and its expression is such as
is never found on the sculptures of the
ViIth century before Christ.
Schmidt also declares unsatisfactory
the proofs regarding the place where
the statue was found and its state of
preservation is so perfect as to raise
doubts as to its genuineness.
The statue is called “The Attic Maid-
SPAIN USES MILLIONS
TO RETAIN HER ART
Government Under General de Rivera
Devoting $18,000,000 to Purchase
Works and Repair Buildings
MADRID—The Spanish government
has decided to devote the sum of 100,000,-
000 pesetas (about $18,000,000) towards
the preservation of the artistic treas-
ures of the nation. '
For over a century Spain has been
the inexhaustible source which has sup-
plied museums, collectors, and dealers
in the whole world. From San Francisco
to Melbourne, or Leningrad to Buenos
Aires, there is no museum or collection
of any importance without a master-
piece from Spain. The Spanish people
have for a long time attached little im-
portance to the enormous accumulation
of works of art left by previous genera-
tions, but there has lately been a re-
awakening of responsibility.
These hundred million pesetas are to
be divided into keeping in proper repair
any old buildings which may have fallen,
or threaten to fall, into decay, and also
into purchasing any works of art that
come into the open market, or buying for
the state museums any works of art in
the hands of needy corporations or re-
ligious bodies, cathedrals, churches, con-
vents, etc.
This decision has been taken as a re-
sult of a trip of General Primo de Riv-
era, the head of the Spanish govern-
ment, into the west, during which he
visited the famous monastery of Guada-
lupe, and was appalled by the state of
neglect of that shrine of art. No time
has been lost, as a committee has al-
ready been formed that has been en-
trusted with the execution of the
scheme. It is presided over by Count
de las Infantas, and includes the lead
ing scholars, collectors, artists, curators
and architects in the country.
—E, T.
When he arrived in New York early
in October, Hermengildo Anglada y
Camarasa, one of the three foreign
jurors for the International exhibition at
Carnegie Institute, gave THe Art News
an interview on this subject. He ex-
pressed himself in favor of more
strongly restrictive laws to keep his
country’s art treasures at home.
acquired by a New York collector.
Jo Davidson Chosen by Authors
Club to Do the Whitman Memorial
The Authors Club announces that it is
arranging with Jo Davidson for the Walt
Whitman memorial to be erected in New
York. Before selecting Mr. Davidson
the memorial committee appointed one
of its own members, George S. Hollman,
as chairman of the committee on sculp-
ture to recommend the sculptor to be
chosen.
Mr. Hollman has acted as chairman
of various committees on sculpture, both
New York Collector
“HEAD OF AN OLD MAN”
Buys a Rembrandt
By REMBRANDT
Courtesy of Paul Bottenwieser
A “Head of an Old Man” by Rem-
brandt, which Paul Bottenwieser has
just brought to this country, has been
The
painting comes from the collection of the
Grand Duke of Oldenburg, to whose
family it had belonged since 1823. It
is signed and dated 1632.
The painting is included in the cata-
logue of Hofstede de Groot and is illus-
trated in the “Klassiker der Kunst,” page
116. The background of the figure is
gray, and a flood of sunlight illumines
it from the left. The subject seems to
be the same as the model for the “Study
of an Old Man,” a red chalk drawing
made about 1630 which is in the collec-
tion of the Louvre.
in America and in Europe. Mrs. H. P.
Whitney was selected to represent the
opinion of the professional sculptor, Ay-
mar Embury II as an architect of wide
experience, Otto H. Kahn as a layman,
Charles de Kay and Guy Eglington as
editors and -critics who have written
widely in the art field. The seventh
member of the committee was Profes-
sor Emory Holloway, author of Whit-
man’s biography and editor of many of
Whitman’s writings.
This chiaroscuro
Mrs. Sterner’s exhibition of old
en.” Its price was 1,000,000 gold marks.
A Chiaroscuro by a XVIth Century Artist
Courtesy of Mrs. Marie Sterner
drawing by Tobias Skimmer, XVIth century artist, is included in
irs masters’ drawings, at the galleries of Jacques
Seligmann & Cc., 705 Fifth Ave., Dec. 1-19. Many of the greatest drawings of all
times will be shown, including loans from the Pierpont Morgan
the Mortimer Schiff, Herbert Straus and Dan Fellowes Platt collections.
Library and from
PRIMITIVE PICTURES
SEEN AT ANDERSON’S
Messrs. Bottenwieser of Berlin Show
Dutch, Italian and German Art
by Famous and Unknown Artists
By HELEN COMSTOCK
Among the Dutch and Italian paint-
ings which the Messrs. Paul and Ru-
dolf Bottenwieser have just brought to
this country and have on exhibition on
the third floor of the Anderson Gal-
leries are some primitives of exceptional
beauty and importance.
Chief among them is a “Piéta” by the
unknown Dutch artist to whom Dr.
Friedlander has given the name of the
Master of the Virgo inter Virgines be-
cause of the subject of the painting
which first identified him. This is now
in the Ryjksmuseum in Amsterdam and
its treatment of that well-loved subject
among his contemporaries, the “Virgin
among the Virgins,” established him as
identical with the creator of certain
wood cuts which were known to have
appeared about 1470 or 1480. Fourteen
paintings are now identified with this
painter, only one of which is in this
country, in the Johnson collection in
Philadelphia. The “Piéta” was acquired
in Spain by Dr. U. Thieme.
The “Piéta” is a painting in which
genuine simplicity, intense earnestness
and forceful magery find themselves in
company with sumptuous and rich detail.
The strange grandeur of the costumes
of the women who surround the Virgin
would seem incongruous in a picture
with the tragic theme of grief but for
the intensity with which that grief is
expressed.
The powerful emotion expressed
makes the accessories plausible. The
te oo: All PARI a
The Art News
Saturday, November 28, 1925
THOMAS AGNEW
& SONS
PICTURES and DRAWINGS
BY THE OLD MASTERS
and
ENGRAVINGS
LONDON: 43, OLD BOND STREET, W. I.
MANCHESTER: 14 EXCHANGE STREET
Se
P. & D. COLNAGHI & CO.
(ESTABLISHED 1760)
THE
FINE ART SOCIETY
Established 1876
Etchings by
SIR D. Y. CAMERON, R. A.
AMES McBEY, BONE,
STRANG, WHISTLER and
ZO
Catalogue on
Publishers of the Etchings of
FRANK BRANGWYN, R. A.
Paintings Watercolours by
BY APPOINTMENT
Paintings, Drawings, En-
gravings, Etchings, Litho-
graphs, Woodcuts, by the
Old and Modern Masters
EXPERTS, VALUERS, PUBLISHERS
148, New Bond Street,
London,
GROSVENOR GALLERIES
144-145-146, New Bond St.
LONDON, W. 1.
Cable Address, Colnaghi, London
Arthur Greatorex, L'd.
Etchings, Mezzotints, Drawings
Publishers of Etchings by
Austen, Fisher Robertson, Warlow, etc
14 Grafton St., Bond St.,
London, W. 1.
HARMAN & LAMBERT
Established in Coventry Street
During Three Centuries
The
CHENIL GALLERIES
CHELSEA
BY APPOINTMENT
The Art Galleries of
Outstanding Beauty
in London
DEALERS IN
ANTIQUE SILVER
JEWELLERY
OLD SHEFFIELD PLATE
ETC.
177, NEW BOND STREET,
LONDON, W. I.
he VER MEER Gallery
(Anthony F. Reyre)
£
Specialists in
Works of the
Dutch School VICARS BROTHERS
ute 0 PAINTINGS, DRAWINGS
£ AND ENGRAVINGS
22 Old Bond Street, London, W. 1. 12, Old Bond St., London, W. 1.
Old Masters
of the
Early English School, Primitives of the Italian and
Flemish Schools and 17th Century
Dutch Paintings
Exceptional opportunities of making private purchase from
historic and family Collections of Genuine Examples by
the Chief Masters in the above Schools can be afforded
to Collectors and representatives of Museums
by
ARTHUR RUCK
Galleries: 4, BERKELEY STREET, PICCADILLY; LONDON, W.1.
pale and barren landscape is profoundly
moving, and the litt'e group at the en-
trance to the tomb in the distance re-
solves the theme like the final chord in
music.
An Italian primitive who worked in
Florence between 1394 and 1424 is rep-
resented by two panels of a triptych.
This is Mariotto di Nardo, who painted
very much in the manner of the better
known Nardo di Cione, brother of Or-
cagna. The subjects of the two panels
are “The Nativity” and “The Circum-
cision,” and both come from the col-
lections of the Kaiser Friedrich Mu-
seum.
The growing realism of the Floren-
tines is in contrast with the quite spirit-
ual formalism of the Sienese, an exam-
ple being a triptych by Allegretto Nuzi
whose exquisite pattern and color show
the vitality which found an _ outlet
through this last manifestation of the
Byzantine tradition.
Cranach’s very fine portrait of a man
with a bristiing beard will interest the
collector. It combines refinement with
force, even brusqueness. The light blue
background, as beautiful aq that which
one finds in some of the Mughal por-
traits of their kings, bears the date 1532.
A head of a man by Tintoretto, land-
scapes by Jacob and Salomon Ruysdael,
one of them from the Maurice Kann
collection; a profile of man by Van
Dyck from the collection of the Grand
Duke of Oldenburg, a Hobbema from
the Novar collection, and a portrait by
Lorenzo Lotto are among the other pic-
tures which make the Bottonwieser dis-
play very much worth visiting.
Variety in Charreton’s Work
Victor Charreton, whose recent French
landscapes are shown at the Dudensing
Galleries until Dec. 14, is revealing a
greater range in his work than ever be-
fore. His “Mountains—Winter”’ has a
rugged strength, a depth and vigor trans-
cending most of his landscapes, which
appeal chiefly through their delighting
color.
One is more apt to be struck by his
feeling for pattern in two dimensions
than his structure in three, but in this
mountain picture he has preserved his
design and introduced a play back and
forth that gives the picture unusual vi-
tality.
He departs a little from his usual
stained-glass brilliance and clarity in a
painting of a tree with pink blossoms
where an impenetrating gray element in
the color makes it unusual. “Spring
Morning after Rain” has all the freshness
such a subject should have and is a very
successful treatment of the picture in
which the predominating color is green.
In “Autumn—Crouzol” there is the
Charreton with whom one is most fam-
iliar, the colorist glorying in flaming
reds and golds shot with mauve shadows.
His snow pictures are always an im-
portant province of his work and there
are several of exceptional beauty in the
present exhibition.
Pen and Brush Exhibit
The Pen and’'Brush offers an opening
exhibition by members in the club house
at 16 East 10th St. The flower paint-
ings are the most pleasing of the group,
including Gladys Brannigan’s “Bronze
Vase and Double Tulips,” and a mod-
ernistic treatment of lilies by Ethel L.
Paddock, also other floral subjects by
Rachel Richardson, M. C. Tallman, Em-
ily Nichols Hatch and Josephine L.
Thompson.
A portrait of the painter Alethea H.
Platt by Helen Watson Phelps is a very
pleasing presentment of a well-known
artist. “Golden Mountain” by Alice
Judson and “Workmen on the Wharf”
by L. Scott Bower stand out among the
remaining paintings, which also include
works by Louise Allaire, Agnes Sym-
mers, Caroline M. Bell, K. Lovell, Eliza-
beth Granden, Ida A. Stone, Kate E.
Williams, Harriette Bowdoin, A. G.
Price, Grace B. Stewart, E. E. Rich-
ards, Harriet Titlow, Sara Hess, Frances
Keffer, Katherine M. Cobb, E. R. Rudd,
T. W. Y. Sumner, and Florence A. Da-
vidson. Gertrude Fosdick contributes
several small bronzes.
Matulka at Artists’ Gallery
The Artists’ Gallery in the Little Book
Store at 51 East 60th St. has an exhi-
bition of paintings, water colors and
lithographs by Jan Matulka. The litho-
graphs of the city are the most satisfy-
ing, majestic in their beautifully de-
fined passages of b'ack and white and
nullifying their sharp edges by the
movement forward and back of the dif-
ferent planes.
There is a massiveness which at times
seems over-weighty in his landscape in
oil and his figures, but his water colors
keep the balance between content and
medium more sensitively. His still lifes
are often very handsome. Through the
whole show there runs the feeling of
having too much to say rather than too
little, which is a fault, if it be one,
easily excused.
Munich Artists in Annual Show
Paintings and sculpture by members
of the Munich Art Associations are being
shown in the annual exhibition held by
the Daumiller Studios at the Waldorf-
Astoria. The present exhibition will
last until after Christmas.
Paintings of ships by Zeno Diemer
and some marines by Erich Mercker,
cattle paintings by Arnold Moeller, in-
teriors by Paul Ehrhardt, landscapes by
Albert Stagura, and Tirelean scenes by
Harrison E. Compton bring together the
work of the more conservative of con-
temporary Munich artists. Albert
Schroeder’s “Mandolin Player” with its
perfection of finish carries on a definite
tradition for the “costume piece” of al-
most miniature proportions. Willy Tied-
jen’s “Ducks” is fresh in color and of
unforced vitality.
Some small linoleum cuts in color and
some etchings of birds are distinctly
pieasing; the color prints especially
have decorative merit.
Fourteen Artists Win Prizes of
$3,000 in a Commercial Contest
Three hundred and seventy-four artists
submitted 512 designs drawn, painted
and modeled, in the international art
competition for a symbol to express the
service rendered by modern retailing, as
exemplified in the career and history
of Lord & Taylor.
The designs came from every section
of this country as well as from Eng-
land, France, Germany and Austria.
The list contains the names of art stu-
dents competing with artists of estab-
lished reputation. American artists won
the major prizes because of their fa-
miliarity with the subject and their
closeness to the scene. The first prize
of $1,000 was won by Herbert F. Roese;
second, $500 by Edwin A. Georgi; third,
$350, David Seaton Smith; fourth, $150,
Bertrand Zadig, all of New York. Ten
prizes of $100 each went to the follow-
ing: Helen Cresson Collins, San Diego;
Hugh I. Connet, New York; Raymond
F. DuBall, Chicago; Harvey Hopkins
Dunn, Philadelphia; V. H. Dufeutrel,
Paris; Jay Van Everen, New York;
Albert Frank Foye, Brooklyn; Robert
Ward Johnson, Paris; Marguerite
Kumm, Minneapolis; Joseph E. Sand-
ford, Brooklyn.
This competition was sponsored and
organized for a department store by the
Art Directors’ Club, one of the affiliated
societies of the Art Center. The pur-
pose of this joint effort was to bring
the art world and the business world
coser together. The jury of awards
was composed of Robert W. De Forest,
chairman; William Jean Beuley, Hey-
worth Campbell, Joseph Hawley Cha-
pin, Royal Cortissoz, John De Vries, Dr.
John H. Finley, Jules Guerin, Paul Man-
ship, J. Monroe Hewlett, Samuel W.
Reyburn and Walter Whitehead.
It is expected that a special exhibition
will be he'd of the prize-winning de-
signs, under the auspices of the Art
Center. It is planned to include also
many of the non-prize winning designs.
Philadelphia to See a Unique Show
Consisting of Young Men’s Work
PHILADELPHIA—Opening Dec. 2
at the Art Alliance, is an exhibition that
will show Philadelphia something new
in the way of art presentation. The
catalogue reads:
“Edward Longstreth presents an ex-
hibition of painting and sculpture by
Walker Hancock, Arthur Meltzer, Carl
Lawless, Nat Little, Luigi Spizzirri and
Ross Braught. This is the first exhibi-
tion of Hancock’s sculpture in represent-
ative array and it includes the bust of
‘Toivo’ with which he won the Widener
medal last season at the Pennsylvania
Academy, and the prize of the American
Academy in Rome.”
The painters are all, each in a dif-
ferent way, decorative. The gallery will
be completely furnished including rugs,
and the sculpture exhibited on fine cab-
inets covered with specially selected bro-
cades and batiks. It is entirely a young
man’s show, but all those concerned have
already won recognition in their fields.
There will be several features during
the course of the exhibition which closes
Dec. 21. The catalogue is printed like
a rare-book catalogue with short bio-
graphies of the artists, a line of com-
ment on the paintings and the price. Mrs.
Morris Hall Pancoast will be in attend-
ance daily.
An Early Sargent Discovered
LONDON—Lord Middleton has dis-
covered an early painting by J. S. Sar-
gent, executed in his student days. It
is a portrait of the French painter, M.
Jullerait, done when Sargent and Jul-
lerait both were pupils of Carolus Duran
in Paris.
NOVEL PRINT SHOW
AT THE ART CENTER
Modern and Conservative Schools are
Both Represented, by Agreement,
in Annual Traveling Exhibition
By RALPH FLINT
The American Institute of Graphic
Arts is holding its third annual traveling
exhibition at the Art Center, and the
issue on this occasion is prints. Fifty
prints have been selected with exceeding
care as representative of the best con-
temporary American work, and they have
been gathered under two headings, con-
servative and modern,
This novel plan is one that should cre-
ate a healthy precedent for traveling ex-
hibitions, particularly when the standards
of the work are well above the average.
The American Institute in this case has
secured its prints by appointing two print
men to assume charge of the selection.
Ernest D. Roth was appointed the judge
of what should constitute the “conserva-
tive” section, and Ralph M. Pearson the
sole arbiter of the “moderns.” The one-
man jury system has been the means of
gaining a special lucidity and coherence
in the exhibition, and those interested in
the make-up of art shows should give
the plan most careful consideration.
The “modern viewpoint” has been most
carefully prepared by Mr. Pearson, he
having been more than two years in
reaching his decisions. The twenty-five
prints that make up his section are there-
fore of special interest to print makers
of either school, and they serve to sum
up in admirable style the various phases
of the modernistic touch in print making.
There are two plates by Peggy Bacon,
that archly humorous observer of the
lighter side of life, and there are also
two very handsome ones by that now
quite grown-up and ever interesting lady,
Pamela Bianco.
Arthur B. Davies, Eugene Higgins (he
figures in both categories), Ralph M.
Pearson and Harry Wickey are more or
less of a piece in mood and technical
approach, while the Gauguinesque move-
ment embraces such artists as Maurice
Sterne, Mary Tannahill, Max Weber and
Erika Lohman. The more purely decor-
ative and angularly minded printers in-
clude Rockwell Kent, Winold Reiss, Ar-
nold Ronnebeck, John Marin, J. J. Lankes
and Charles Burchfield (collaborating on
the “Carolina Village plate”), Jan Ma-
tulka, and Charles Sheeler. These offer-
ings are all and each distinct and per-
suasive expressions of the newer move-
ments in contemporary work.
For the reverse side of the picture the
list runs to such architecturally inclined
etchers as John Taylor Arms, Ernest D.
Roth and Louis C. Rosenberg; to such
honest commentators of everyday life as
Frank W. Benson, Ernest Haskell, Childe
Hassam, Kerr Eby, William Auerbach-
Levy, Charles H. Woodbury, and Roi
Patridge. Edward Hopper’s O-Henry-
esque glimpses of the passing throng,
Troy Kinney’s lightly transcribed danc-
ing figures, George Hart’s decorative
“Centaurs and Figures” (more spirited
than his “conservative” associates and
strongly suggesting the other camp),
and plates by Arthur W. Heintzelman,
Rudolph Ruzicka and Allen Lewis com-
prise the other numbers on the program.
It would of course be difficult to say
how completely representative any one
man’s choice might be, but the present
plan of the American Institute of
Graphic Arts has resulted in a most in-
teresting and provocative exhibition.
Sculpture by Harold Erskine
Harold Perry Erskine is making his
sculptural bow at the Ferargil Galleries
with a group of figures in stone and
bronze, his first New York appearance in
the capacity of plastic artist. Mr. Erskine
began his artistic career as an architect,
carrying on his work in this medium
until the great war. Later, he turned to
sculpture, studying for a short time with
some of the big men, and today he steps
before the public with an array of
marbles and bronzes that clearly sets
forth his talents. .
Perhaps the most interesting of Mr.
Erskine’s figures are those where he has
frankly left off considering nature as a
model to be imitated in shape and texture
and where he has let his own creative
fancies have free rein. A case in point
is the way he has treated his “Leda,”
first as a large and rather empty sculp-
tural monument, then as a small and
decorative bronze full of fluent form and
quick accent. Mr. Erskine has done a
fine thing with his little bronze “Danse
Moderne.”
In soapstone, the sculptor has found a
substance eminently to his liking, and
from its cool gray depths he has carved
a number of charming figures, notably
the “Eve” and the “Mowgli.” A large
bronze of “Nephele” mounted on a great
horse is very richly conceived, its flowing
ow
mii@mditi@We-
his
ries
and
e in
cine
ect,
ium
1 to
vith
teps
of
sets
Mr.
has
is a
ture
itive
int
da,”
ulp-
and
and
ne a
anse
nd a
and
rved
‘ably
arge
yreat
wing
a pe
Saturday, November 28, 1925 The ArT News F
li carrying out the idea of the Cloud : . . :
Goddess most successfully. The Library in the Newhouse Galleries _ |{
Th are also paintings at Ferargil’s
by Albert Smith oad Alexander Bower. ENGLISH FRENCH DUTCH GERMAN
Mr. Smith is a portraitist of consider-
able authority and his likeness of Pieter
Van Veen is rendered with a fine sense
of fluent brushmanship. Mr. Bower is
a landscapist of various excellences, and
he has done a series of coast and moun-
tain scenes that are spirited in handling
and lively in color.
Old Masters at Ehrich’s
In preparation for the Christmas sea-
son the Ehrich Galleries show a group
of paintings of the Madonna, mainly of
the XVth and XVIth centuries. The
large “Madonna, Child and St. John” by
Raffaellino’ del Garbo is a handsome
panel, designed by a master of fine flesh
painting and enlivened with passages of
brilliant carmine in the Madonna’s robes.
Tiie small ‘Madonna, Child, and Saints”
of the Sienese school, with its powdery
gold ground and softly faded colors, is
one of the loveliest of the religious paint
ings. There are alsotwo Venetian scenes
attributed to Canaletto, two portraits by
Cornelius de Vos, and a handsome Hopp
ner,
“Associates in Fine Arts at Yale”
Will Aid Art at the University
NEW HAVEN—An organization
cal'ed Associates in Fine Arts at Yale
has been formed, with 235 men and
women as members. The committee in
charge is composed of Alexander Smith
Cochran, William Sloane Coffin, Robert
W. de Forest, Samuel H. Fisher, Mait
land F. Griggs, Carl W. Hamilton,
Chauncey J. Hamlin of Buffalo, N. Y.;
Edward S. Harkness, Richard M. Hurd,
Troy Kinney, Robert E. Lehman, How-
ard Mansfield, Dean Everett V. Meeks
of the Yale School of the Fine Arts,
John Hill Morgan, Frederick B. Pratt,
James Gamble Rogers, Martin A. Ryer-
sen of Chicago; George Dudley Sey-
mour of New Haven, Chauncey B. Tin
ker of New Haven and Frederick E.
Weyerhauser of St. Paul, Minn.
It is announced that the purpose of
the associates is to promote greater ap
preciation among the graduates, under-
graduates and friends of Yale of the
university's collection and the accom-
plishments of its art school. They hope
to find ways of creating greater inter-
est in art through instruction in the
history, criticism and appreciation of it.
Weeding Out London Galleries
LONDON—There is a movement
afoot at present for weeding out from
London’s galleries those pictures that
may not be worthy of constant exhibi-
tion. This applies not so much to the
more important galeries, where frequent
changes of exhibits are in force, but to
minor collections such as that of the
Guildhall Art Gallery, where works
have never been subject to revision since
they were first acquired. This naturally
has led in time to a choice between ex-
tension of premises and a sorting out
of exhibits. The latter is being advo-
cated.
MSS. of Ivan the Terrible Found
MOSCOW—Workmen engaged in
some repairs at the Kremlin found an
old parchment, which was examined and
asserted to be the inventory of Ivan
the Terrible’s library. Thereupon the
Soviet government had the place care-
fully investigated. Beneath a big stone
seventeen volumes of manuscripts of
great scientific value were discovered
A committee was put in charge of fur-
ther investigations.
Socialists Adopt Kolbe’s “Ebert”
BERLIN—The affair of the bronze
bust by Professor Kolbe, representing
the late President Ebert of the German
republic, destined to adorn the Reichs-
tag and declined by a reactionary group
of experts, has now found a solution.
The socialistic fraction of the Prussian
Chambers has acquired the bust, which
will be placed in the assembly hall of
that group.
Bartlett Left More Than $60,000
Paul W. Bartlett, scu'ptor, who died
in Paris on Sept. 20, left an estate valued
at more than $60,000, according to the
petition for letters testamentary filed in
the Probate Court in Washington, D. C.,
by his widow, Mrs. Susanne Bartlett.
She is the sole beneficiary. The estate
includes the local premises at 237 Ran-
dolph Street, N. E., and the studio in
Paris.
New Etchings Published
Messrs. Kennedy & Co. announce the
publication of a set of six etchings of
Princeton University by John
Arms.
Arthur H. Harlow & Co. have six new
dry points of wild fowl by Roland Clark.
Taylor
AUTHORITATIVE
ARE IN THE NEW HOME OF THESE GALLERIES
ST. LOUIS—A library is a_neces-
sary adjunct of the complete gallery.
Good paintings all have histories—tales
woven about their birth and subsequent
ives, Which facts have strong bearing
on their values and all succeeding de-
velopments. The biographies of such
men as Corot, Daubigny, Millet, Rous-
seau, Inness, Blakelock, Wyant, Mur-
phy, Martin and other masters are re-
plete with the wine of romance and the
color of history. Their works are the
WORKS ON
NEARLY EVERY MASTER
best evidence of the times in which they
lived—their painted records are accurate
raconteurs of war, fashion, religion, ar-
chitecture and even politics. The writ-
ten story of a master entwined with
that of each work is very often, in fact
we may say always, the supporting evi-
dence of its owner and as such governs
the value of such property. The New-
house library is comprehensive. It in-
cludes the authortative works on nearly
every master.
BROOKLYN MUSEUM’S
INTERNATIONAL SHOW
Picture Calbidiy of tes New Wing
Are Opened with American, Scan-
dinavian and Spanish Artists
By DR. CHARLES FLEISCHER
The Brooklyn Museum has just opened
the picture galleries of its new wing
with an exhibition of paintings in oil
of American subjects by groups of Am-
erican artists, and of paintings by Dr.
Axel Gallen-Kallela of JT inland, and
other European artists. This exhibition
will hold to Jan, 3.
The plan of the American section ot
the exhibition is to present in the met-
ropolis the works of painters whose ac-
tivities have been largely limited to cer-
tain localities in this country, or of those
who assemble in colonies through per-
sonal or professional sympathy and ani-
mated by a common inspiration.
No attempt has been made to draw
upon the various groups of the entire
country, but in the East, works from
such groups as those of Gloucester, Prov-
incetown, Wilton, Silvermine, Lyme,
Woodstock and New Hope have been
assembled. Among larger centers which
have contributed are Boston, Philadel-
phia, Pittsburgh and Indianapolis, while
Brooklyn and Long Island constitute an-
other source, and an additional group
represents the Southwest.
Ernest L. Blumenschein shows five
convases that are very decorative. Simon
Baus gives us a pleasant glimpse of Cali-
fornia and an impressive portrait of
Rabbi Messing—a blending of Jewish
scholar and American gentleman. John
Elwood Bundy indicates in his three
paintings that he has a fine feeling for
the woods. Eben F. Comins and John E.
Costigan are represented by only aver-
age performances. Paul Froelich shows
“Man Asleep” and “Composition—Fig-
ure,” both good in drawing and color.
A. C, Goodwin has two impressive
street studies—Fifth Avenue, New York
and Tremont Street, Boston—the former,
even in slush and dirty snow, richer in
color and more brilliant in spirit than
the appropriately sombre New England
city. Mary Goth, Mary Brewster Hazel-
ton, Philip Little, Marie Danforth Page
Agnes Pelton, Alice Schille, Ada Walter
Shulz and John Sharman are well rep-
resented.
Another section of the exhibition con-
stitutes an international group represen-
tative of the Scandinavian countries and
Spain and the Argentine. The paintings
of Dr. Axel Gallen-Kallela represent the
work of an artist who has been ranked
with Edelfeldt as typifying the spirit of
the art of Finland. His paintings were
awarded a medal of honor at the San
Francisco Exposition. Twenty-nine can-
vases by him, including the tender, beau-
tifully painted “Mother and Infant,” are
the chief feature of the foreign exhib-
julf Strandenaes, Oscar Matthiesen, Ed-
ward Munch, Helmer Mas-Ole, Edward
Kosenberg, Gustav I‘jaestad, Anna Bo-
berg and several other Scandinavian
artists.
The famous Anders Zorn dominates
the Scandinavian exhibit with two bril-
liant canvases loaned for the occasion.
And there are two splendid winter scenes
—one by Anselm Schultzberg, “Winter
in the Forest” which is realistic and ma-
jestic, and the other by Gustaf [jaestad,
“Hoar-frost.”
The Spanish paintings represent the
work of a number of young painters.
Conspicuous among these is a group of
eighteen canvases by Jose Gutierrez
Solana. The catalogue also includes
Pedro Antonio, Jose Marti-Garces, Jose
Mongrell Torrent, Joaquin Mir, Jose
Lopez Mezquia and the Argentine paint-
er, Tito Cittadini.
Tissot’s Water Colors
Another feature to give distinction to
the occasion of the opening of the Brook-
lyn Museum’s new wing is the perman-
ent installation of Tissot’s water-color
paintings of the Life of Christ, together
with Dr. Schick’s models of the Temples
of Jerusalem and of the Tabernacle of
the Wilderness. For both Christian and
Jew who desire to understand the
Hebraic-Christian tradition, this joint
exhibition of Schick models and Tissot
water colors is invaluable as educaton,
inspiration and stimulus to imagination.
In fact, both of these collections have
combined archzological, artistic, religious
interest. The Tissots have been exhibited
in the New York Public Library and
elsewhere before.
A Notable Newcomer
Jose Arpa should be better known.
Indeed, it were well if first he became
known at all in these parts. New York
has such a way of worshiping names that
its motto ought to be: “Nothing succeeds
like—a name.” But that is snobbishness
of the silliest sort—and is killingly cruel
to merit that has not yet “arrived.”
All of which is not meant to be patron-
izing to Jose Arpa whose work sings
the story of his worth. An exhibition of
his paintings of the West, of Mexico
and of Seville, is being held at Babcock
Galleries, 19 East 49th St. until Dec. 5.
“Dawn—Grand Cafion” gives you the
holy intimacy of morning’s first spilling
of cool colors over that twenty-one mile
brim. “Evening—Grand Cafion” almost
reconciles you to oncoming age, if you
can reach your day’s end with such
grandeur, inwardly sun-illumined, out-
wardly wearing a mantle of cool warmth,
and radiating from you the rich glow
of maturity. In a word, these Cafion
pictures of Arpa are poetic and—though
they do not make one forget, as they
should not, the terrible, awful, fearful
aspects of the C’ fion—they almost tame
that terrible mood of Mother Nature and
make her humanly companionable and
suggestive even there.
ition being shown with those of Byrn-
Sefior Arpa’s smaller canvases prove
(Continued on next page)
OLD SILVER
XVIIIth Century Enamelled Gold Boxes
and Miniatures
Antique Diamond Jewels
S. J. PHILLIPS
113 New Bond Street, London, W. 1
COLLECTORS QUARTERLY WILL
BE ISSUED IN DECEMBER AND
THE FIRST NUMBER OF VOL-
UME THIRTEEN WILL BE PUB-
LISHED IN FEBRUARY NINE.
TEEN HUNDRED AND TWENTY-
SIX THE SUBSCRIPTION FOR
WHICH IS FOUR DOLLARS
FIFTY CENTS PER ANNUM POST
FREE OBTAINABLE FROM ALL
LARGE BOOKSELLERS OR DI-
RECT FROM THE PUBLISHERS
AT TEN BEDFORD STREET
COVENT GARDEN LONDON
WEST CENTRAL TWO
== : — - = —_
THE LAST NUMBER OF VOL-
UME TWELVE OF THE PRINT
CHAPELLIER
| GALLERIES
| BRUSSELS & LONDON
OLD MASTERS
_ MODERN PAINTINGS
41 Avenue Jules Malou
BRUSSELS ==
H. GILHOFER &
H.RANSCHBURG, Ltd.
33 Haldenstrasse, LUCERNE
ENGRAVINGS
by OLD MASTERS
XVIIIth Century PRINTS
LEGGATT BROTHERS
By appointment to H. M. King George V,
His late Majesty King Edward VII and
Queen Victoria
Pictures, Drawings & Engravings
30, St. James’s St., London, S.W. 1
ROBT. DUNTHORNE
& SON
LIMITED
5, Vigo Street, London, W.1.
ETCHINGS
by RaMBRANDT
WHISTLER
ZORN
CAMERON
GRIGGS
McBEY
BONE Ete.
BASIL DIGHTON
3, Savile Row, London, W. I.
New Illustrated Cata-
logue of old Furniture,
Tapestries and Engrav-
ings, free on application
Telephones Regent 4349 and 4350
ARTHUR A. BAILEY
Publisher of Etchings by
Detmold, Cain, Litten, Evans, etc.
Modern Masters always in stock
SLOANE GALLERY
188, Brompton Road. London, S.W.3.
GALERIE ARNOT
Pictures by Old Masters
1 Kartnerring 15, Vienna, Austria
London Representative:
G. ARNOT
20, Frognal Lane, Hampstead, N. W.
The Lefevre Galleries
FINE MODERN
COLOUR PRINTS
la King Street, St. James’s,
ion, 8.W. 1.
= Paintings
= BACHSTITZ GALLERY
Objets d’ Arts <
Classical, Oriental Works of Art =
Tapestries
On request we send our clients our :
S scientific Bulletin. Numbers VII -
and VIII are published. =
THE HAGUE—11 SURINAMESTRAAT x
$. : ie, ie s aa a . se ee (i) * ef (i * a oe *. ee .. bh o fs\ / i ' “ ' .
4
The Art News
Saturday, November 28, 1925
(Continued from preceding page)
his power to offer much in little. A
“Flower Market” here, a “Gypsy Fair”
there, a “Street in Seville” suggests
crowds and movement and throbbing life.
Equally, so solitary a scene as “Ruins of
a Church—Mexico” gives you the sense
of the throb of the unseen, and intensely
vibrant sunshine and a feeling of infini-
tude. Also there is a portrait study of an
old man, “Don Quixote,” that is ex-
ceedingly well painted and must be a
characterization by an artist to whose
simple, sincere eye the mysteries of Na-
ture and human nature are an open book.
Russell Cheney
Unfortunately, a series of paintings,
recently completed in France and New
England, by Russell Cheney (also at
the Babcock Galleries) suffer by con-
trast with Jose Arpa’s. The Spaniard’s
pictures are so vital and full of air and
sunshine and shadow and all the varied
color used by the greatest painter of
them all—the Sun!
Not that Mr. Cheney’s canvases do not
have an attractiveness:of their own, a
sort of Maeterlinckian greyness of un-
reality and other-worldliness. And that,
too, has its mystic charm. But I had a
queer feeling—as I studied these pictures
—of moving about in worlds not realized,
worlds without air and without sunlight.
Perhaps that is precisely the impression
the artist wanted to give. Though sev-
eral of these pictures are recognizable
enough, as for instance “Chartres” with
its vast Gothic Cathedral dominating the
grey scene.
Fogg Museum at s Ditdaldes Will
on Be Enlarged and Improved
CAMBRIDGE, Mass.—Director Ed-
ward W. Forbes in talking with a repre-
sentative of the Harvard Crimson dis-
closed some of the details of the plan for
enlarging the Fogg Museum with its
increased facilities for instruction and
display. Charles A. Coolidge, the archi-
tect, is designer of the freshman dormi-
tories, the medical school and other uni-
versity buildings. The plan worked out
by him inciudes a two-story exhibition
building and twice as much room for
study purposes. Quincy St. will be the
site, with a main entrance that will per-
mit admission directly to the collections.
The large lecture hall will seat some
400 persons, and there will be smaller
halls and studios for the art students.
The print room-promises to be unusually
attractive, the present collection being
one of the finest in the country. Pro-
fessor Paul J. Sachs has also brought
together a collection of drawings by the
masters which has few equals but which
it has not been possible to show in its
entirety. The Fogg Museum collection
of Italian primitive paintings will like-
wise be given adequate space, as will the
Greek marbles and Romanesque carv-
ings.
Viscount Leverhulme Arrives
Viscount Leverhulme arrived at the
end of last week on the Mauretania.
He said his trip was on business and
had nothing to do with the sale of the
collection of pictures and old English
furniture belonging to his late father
at the Anderson Galleries next Febru-
ary. He expected to go to Canada after
spending some time in New York. Sev-
eral consignments of the collection have
already reached New York.
Elkins Collections Closed
PHILADELPHIA—tThe George W.
Elkins and the William Elkins collec-
tions, which have been on view for over
a year in temporary galleries have been
closed until the new Philadelphia Mu-
seum of Art, in which they are housed,
is ready for opening next spring.
MODERNISTIC GLOOM
AT WHITNEY CLUB
Works by Cammarata, Tricca, and
Beulah Stevenson Shed Gloom on
the Reviewer Joy at the Bourgeois
By GUY EGLINGTON
How comes it that the art—the work
all men,
one im-
of artists, who are first of
with a full range of emotions,
agines —is inevitably bound up in any
generation with a single set of emotions,
and these for the most part but modified
reflections of a single emotion? To take
a modern instance, how has art come to
be virtually nothing more than a mouth-
piece for unhappiness?
I was made more than usually consci-
ous of this prevailing unhappiness at the
current exhibition of the Whitney Studio
Club. In the upper rooms are pictures
by two men whose names are unfamiliar
to me, Peter Cammarata and M. A.
Tricca, I should be hard put to it to
say which of the two I found the more
depressing. Starting from Post-Impres-
sionist formule, which they use as
frames, each seeks for the colors which
shall best express their view of the
world’s gloom. Cammarata is apt to be
resigned. Tricca accuses. His houses,
landscapes, roses, no less than his heads
—even the portrait of “My Father’—
glare with an unconstrained ferocity.
This had been bearable had the ferocity
been even remote:y an expression of the
subject, but I could not be convinced
that the subject had any cause for exist-
ence, except as an outlet for Mr. Tricca’s
resentment.
Downstairs, Beulah Stevenson is less
uncompromising, more apt to take the
world a little on trust, opening her eyes
and other organs of sensibility as wide
as they will go in the hope that something
will happen, some connection be estab-
lished between the world and _ herself.
And she is not disappointed. Things
do happen. Not all the time. But at
moments, In one or two of the Santa
Fe pictures. In the two small Britanny
street scenes. The trouble is that she
is apt to see things at present in frag-
ments. A certain passage in the middle
distance will become real and she will
brush in the rest a little too airily.
Better restrict the picture to the part
completely seen and let it go at that.
Modern French Prints |
At Weyhe’s where there is an exhibi-
tion of modern French prints, I am
conscious of a striving after gaiety that
is not entirely successful. Even Marc
Chagall, to me the most interesting of
the group, is apt to be subdued in his
fantasy. He is at his best in a sombre
plate, such as “Le Musicien.” Marie
Laurencin is too sensitive for gaiety,
though she can be devilish witty and the
barb of her wit loses nothing from her
delicacy. Laboreur is too tight, Goerg
too serious, Frelaut and Marchant too
slight to be satisfying. Coubine has a
certain cold elegance. Boussingault can
draw, when he does not lapse into the
photographic. But the only one in whom
[ felt any freedom is Verge Sarrat.
Friedman at the Bourgeois
One becomes in time so accustomed to
darkness that one only becomes fully
conscious of it when the shutters are
suddenly thrown back and the daylight
bursts into the room. That, and no other,
is the effect which Friedman’s exhibition
at Bourgeois’ produces on the eye tuned
to Post-Impressionism. After the color
orgy of Impressionism and the formal
orgy of Post-Impressionism—suddenly
and without warning, happiness again,
radiant. Neither self-pity, nor self-con-
scious exultation, but natural upwelling
happiness, freedom, joyousness. These
pictures sing, as it were, without effort
and their effortlessness is a measure of
the strain and struggle to which we have
grown accustomed.
Of the individual pictures my own
favorite is still the “Madonna and Child,”
now in the collection of Mr. Adolph
Lewisohn. No other contemporary paint-
er has succeeded in wedding such delicacy
to such strength and certainly none with
means so simple. Of this year’s figure
pictures there is the “Blue Kimono” and
the “Madonna and Child” owned by Dr.
Heinrich Wolf. Set the first on the
same wall with Seurat’s “Poudreuse”
and it need never fear the comparison.
With what ease does Friedman achieve
the luminosity that cost Seurat such
struggle? And how cold is the latter’s
creation, her gesture how frozen.
Of the landscapes without figures I
like best the “Lake in the Berkshires,”
“October.” Of the several “Baigneuses”
I may be permitted to like best my own,
that hangs on a wall by itself where the
morning light falls full on it. No other
picture ever gave me so gay a morning
greeting.
Gurago Institute bees a Striking Work by Toulouse- Lautrec
“THE CIRCUS”
Ry HENRI DE
TOULOUSE-
LAUTREC
Courtesy of the Art Institute
of Chicago
“The mordant genius of
Henri de Towulouse-Lautrec
has been most generally made
known to the world and to
America in particular through
his brilliant drawings and
lithographs,” says the Insti-
tute’s Bulletin. ‘‘Fortunately,
however, there has recently
come to the Art Institute a
fine example of his painting.
‘The Circus,’ @ characteristic
treatment of the material
which through sheer perver-
sity most attracted the crip-
pled painter of Montmartre,
has been purchased for the
museum through the Winter-
botham fund. Toulouse-Laut-
rec, son of @ sporting count.
was born into an environ-
ment of horses and sports-
manship.”’
| Me ‘tropolitan’s Educational Work
Exhibited in a European Circuit
An exhibit demonstrating all phases
iof the educational work of the Metro-
politan Museum of Art is now on circuit
in European museums. During October
it was shown at the Musées Royaux du
Cinquantenaire, in Brussels, and it will
be seen during November in Lubeck, Ger-
many. The exhibit, consisting of photo-
graphs, publications, charts and other
material, was originally prepared for use
at the annual meeting of the American
Association of Museums at Cleveland in
1921. Before being sent to Brussels at
the request of Jean Capart, director of
the Musées Royaux du Cinquantenaire,
the collection was revised and amended to
represent all current extension work of
the Museum.
THE RAPHAEL FOUND
IN URALS IS GENUINE
“Madonna di Loretto,” Once Owned
by Nicholas I of Russia, Is Au-
thenticated by Experts in Moscow
BERLIN—The recovery of Raphael’s
painting known under the name of “Ma-
donna di Loretto” or “Madonna di Pop-
olo,” which Professor Grabar has dis-
covered in a small place in the Ural
mountains, as announced in one of my
recent letters, has caused a great stir
in the art world. The canvas has been
brought to Moscow and carefully exam-
ined by different experts, who assert
that it is by Raphael’s own hand and
not one of the numerous copies.
Raphael painted it for Pope Julius
II, who donated it to the church Santa
Madonna di Popolo in Rome, where the
paiating remained until 1591 and _ since
then has been known under the name of
“Madonna di Popolo.” Later the can-
vas came into the possession of Cardinal,
Sfondrato. At the end of the XVIth
century it disappeared and came to light
again in 1741, at which epoch it was
installed in the sacristy of the church
Casa Santa at Loretto, from where the
other name of the painting derives.
Professor Grabar is now endeavoring
to clear up the adventures which hap-’
pened to bring the painting to Russia
into the possession of Nicholas I. It
will be submitted to a careful cleaning
piocess in Moscow. The Louvre pos-
sesses an old copy of the original, which
was considered lost. Sie
Orr to Paint in Sargent’s House
LONDON—Alfred E. Orr, portrait
painter, will occupy John S. Sargent’s
house in Tite St., Chelsea. Sir Charles
Higham, the artist’s patron, bought it so
that Orr could paint there. A biography
of Sargent is being written by Evan
Charteris, brother of Lord Wemyss.
Member of the
and Recent Etchings
ETCHINGS Nov.
FRAMING
/MILCH GALLERIES
Associated Dealers in
Landscapes Painted in Cornwall by
W. ELMER SCHOFIELD
16th to Dec. 5th
American Paintings
by ALFRED HUTTY
108 West 57th St. 33!
NEW YORK |
SURE EEL ADDESEAUNNGG OR DEDEND CENTER GD OTT TUN NETTIE, UOTE ONE EED eT
ut Weveeeaecennneetecien mt
>a » £ & & |W WD W
** The Cries
W. J. ALLINGHAM
' MUSEUM GALLERIES
(STUDIOS)
53 Shorts Gardens, London, W. C. 2.
Engraved in Stipple.
Replicas of the old prints by
G. SIDNEY HUNT
H. SCOTT BRIDGWATER HERBERT SEDCOLE E. J. STODART
Limited edition.
Stamped by Fine Art Trade Guild and Printsellers Association
Full Particulars on Application
|
of London”’
Printed in Colour.
EUGENE TILY
=
: te
EXHIBITION
Paintings
of
SHIPS and THE SEA
by
GORDON GRANT
November 23 to December 12
CHOwARD-YOUNG
GALLERIES
634 Fifth Avenue
Opposite St. Patrick’s Cathedral
NEW YORK
Scott & Fowles
ART
GALLERIES
667 Fifth Avenue
Between 52d and 53d Streets
NEW YORK
QAVESTIRVIRE G
Established 1870
39 Pearl Street, New York City
London Paris
“OLD MASTERS”
IN THE FINE ART OF
SHIPPING
Experts for fifty-four years in pack-
ing and transporting works of art,
exhibitions, antiques, household
effects and general merchandise.
New links of intercity haulage by
motor truck now added to complete
our chain of service at reasonable
cost for forwarding, Customs Brok-
erage, storage, trucking, marine
insurance.
Representative will gladly call
upon request.
Cable Address
Spedition
. _ Phone
Bowling Green 7960
DEMOTTE
WORKS OF HRT
rnéa@ YORK PHRIS
eT = = eh;
y.
tS
ht
.=
4:
4:
4:
4:
4:
{|
7 leanne SSE DR eS mam
[a-
p-
is-
ral
ny
tir
ell
m-
ert
ind
ius
nta
the
ice
of
an-
nal
Ith
xht
vas
rch
the
ing
ap--
sia
It
ing
ich
—| | |
* 429—Carved Mahogany
423—Pair of palace doors, Persia, Ispahan,
Saturday, November 28, 1925
The Art News
PAINTINGS SELL FOR |
$147,185 AT AUCTION
A Schreyer at $6,300 Tops the List at
a Sale of Anonymous Collector’s
Property at American Galleries
At the American Art Galleries, on
the evening of Nov. 20, European and
American paintings, from the property
of an anonymous collector were sold.
A total of $147,185. was realized.
Among the more important sales
were:
37—“‘Fabiola,” by Jean Jacques Henner;
Knoedler & Sh ieeaes vasareres . . «$2,350
51—*‘Ponies and eep,” by Rosa Bon-
heur; Arthur ———- bakes bs ~~ " 1,075
54—“‘Cardinal Burning a s,” by
a Georges Vibert; E F. Albee.. 1,200
8—"Boy with Flageolet,” by Bouguer-
eau; L BOGE nes nncbss sceeese 1,400
59—“Driving Cows to Water,” by Jules
Dupré; Clapp & Graham oe bene an 2,100
63—“‘Drowsing Nymphs,” by Diaz; E. F.
pete ee ey errr 2,600
g0—“‘Going to Pasture,” by Van
* Marcke; G. H. Walker ee snede ties 3,400
84—‘“‘Horses at Fountain,’’ by Schreyer;
E. F, Albee .+.+.seeeeeenersenes ,300
85 Pte ol by Corot; Frederico
g6—"Hible in ‘the “Desert,” by’ ‘Schreyer’ .”
Te W, ne nein dc ceabesaceuss 3,300
87—“L’Armour Vainqueur,’ by Perrault;
E. Be BASE cicvervcncvoceesses 1,025
GODDARD DU BOIS COLLECTION
American Art Galleries, Nov. 21, afternoons—
The Goddard DuBois collection of X I
century English and American furniture and
works of art. Total, $24,204. Among the
more important items:
239—Inlaid walnut gate-leg table, Queen
Anne period; » PICr8OM. oe seccee $630
249—Inlaid walnut chest on stand, William
and Mary period; G. Montgomery 200
255—Walnut double cee of drawers,
ae Anne period; Mrs. J. H.
AMMON ..ceccccccvcccccsceccces
377—Gold moodiopaanted
Renaissance; 4
382 —Painting, by Michati neko Dutch,
1867; A. R. Louis ..ccccccccccceces 400
395—Decorated and inlaid satinwood -—
inet, Sheraton style; Harry ke abi
410—Decorated satinwood mbroke ta i
Adam period; R. Wilhelm
425—Carved mahogany wing chair,
pendale period; S. O. Carson ..
cabinet, Chinese
Chippendale period; S. O. Carson. .1,550
431—Carved mahogany corner-capinet, Chip-
pendale period; Mrs. A. P. Hope. . 400
433—Carved mahogany secretary bookcase,
by Savery, Philadelphia, circa, 1760;
S. O. Carson
435—Inlaid and carved
Sheraton period; F. B. Vose......
444—Rose-crimson royal Bokhara_ carpet,
XVIII century; T. M. Widner, i 380
445—Old Kurdish carpet; Charles of Lon-
eeeeeeee
GOR oci'iaer babe recew erase ce 550
446-447—-Two Persian carpets of the XVIII
century; Charles of London ....... 700
KEVORKIAN COLLECTION
Anderson Galleries, Nov. 19, 20, 21, afternoons
—Greek vases, Roman lass, ceramics from
recent excavations in Persia and Mesopo-
tamia, Oriental rugs and fabrics from_ the
collection of H. Kevorkian of Paris, Lon-
don _and New York. Total, $43,848. The
mnoctant items: ’
. _..figured vase, Chalcidian, mid-
dle of VI century, B. of R
Ackerman
359—Black figured amphora ot Panathe-
naic _Shape Attice, late VI century,
R Miss H. ‘Counihan, agent.. 950
Mesopotamia, early Mo-
hammedan period, VIII century;
University o Pennsylvania Museum.5,675
421—Oriental velvet, Turkey, XV_ century;
University of Pennsylvania Museum. 500
422—Pair of palace doors, Persia, Ispahan,
XVII century; G. D. Barnes....... 625
367—1 ottery jar,
XVII century (similar to preceding) ;
Miss H. Counihan, agent
424—Panel composed of forty enameled
tiles, Persia, XVII century; J. R.
PU, | o 60 0.0.00 eeéentescesiveasss 2,500
425—Spandrel composed of one hundred
enameled tiles, Persia, XVII century;
ey MUNIN sie oes « Su ¢ UAW cao ,000
427—Antique Ladik prayer rug, Asia
Minor, XVII century; A. Wielich.. 420
428—G hiordes prayer rug, Asia Minor,
XVII century; E. F. Collins, agent. 400
429—Ghiordes prayer rug, Asia Minor,
VET COMET? Onder ccccvcsccceses 600
430—Ghiordes prayer rug, Asia Minor,
XVII century; E. F. Collins, agent. .1,625
STARRETT AND BROWNE LIBRARIES
American Art Galleries, Nov. 18, afternoon
and evening—First editions of modern au-
thors, including selections from the libraries
of Vincent Starrett, Chicago, Ill., and Waldo
FEARON
ENGLISH
PORTRAITS
PRIMITIVES
OLD MASTERS
GALLERIES
INC,
25 West 54th Street
R. Browne, Wyoming, N. Y. Total, $22,271.
The more important items:
374—“The Dynasts,” by Thomas Hardy,
first issue of part I with title-page
dated 1903; Brick Row Book Shop $1,350
451—Galley roofs of “Ship that Found
Herself,’ by Ru:lyard Kipling, auto-
ee corrections and signature; T.
PP sess th eebadecebasse aves 20
549—Collected verse of Rudyard Kipling,
signed by Kipling, illustrated in color
by Heath Robinson, 1910; Brick Row
DOG DOOD a cshcdcisnsdntanegeees 1,250
867—“‘A Week on the Concord and Merri-
mac Rivers,” by Henry D. Thoreau,
first edition, 1849; L. A. Eaton.
906—Original autograph manuscript “of
Oscar Wilde, ‘“‘Lecture to Art Stu-
dents,” first’ edition, 1883; Gabriel
WO. ve cccecibsacdutdessounntenees 560
911—“A Florentine Tragedy,” by Oscar
Wilde, original autograph manuscript,
com rising about 3,000 words; a-
WEE UWEUEED <e005-54 v0 cebsdsabeeseuss 300
Anderson Galleries, Nov. 13—English glass in
brilliant colors, ‘and old English furniture,
including the second part o the collection
of W. E. A. Reilly, Esq., Chester, England.
$15,449. The important items:
100—William and Mary_ inlaid walnut
chest of drawers, English, circa,
1690; Miss Alice Taggart
101—Inlaid walnut ueen Anne grand-
mother clock, Edward East, London;
Miss H. Counihan, agent
103—Sheraton mahogany Pembroke table,
English, XVITI century; E. F. Col-
lins, agent
132—Eight carved Sheraton mahogany din-
ing chairs, English, XVIII century;
Miss Alice Ta gart
137—Early Chippendale carved mahogan
secretary writing table, English, mi
XVIII century; Order
143—Twelve carved Chippendale chairs te
ironwood, English, circa 1770;
ee
eee eee eneeee
ee Rr eee era 1,250
144—Carved mahogany three-pedestal din-
ing table, English, XVIII century;
Bate, Geemvee CAME cccnccsocccc
SCHERNIKOW COLLECTION
Anderson Galleries, Nov. 23, afternoon—Early
American furniture, children’s furniture, oe
over 100 hooked rugs, collected by
Hatt Schernikow, ew York, Total,
AMERICAN ART GALLERIES
Madison Ave. & 57th St.
Nov. 30, afternoon and evening and Dec. 1,
evening—Color prints from the property of
K. Kawaura, Tokyo.
Dec. 2, evening and Dec. 3, afternoon and
evening—Library sets, first editions, auto-
graphs, sporting books, etc., from the library
of Edward Appleyard and ornithological
books from the collection of Lithgow Os-
borne.
Dec. 4, evening—Artists proof etchings by W.
Dendy Sadler, from the collection of Mrs.
A. §S. Laflin and mezzotints in color by
S. Arlent Edwards, etchings by Whistler,
Haden, etc., from the collection of George
Busse and V. Preston.
Dec. 4, 5, afternoons—Private collection of
Messrs. Leopold and Vitall Benguat of Ori-
ental rugs.
ANDERSON GALLERIES
Park Ave. & 59th St.
Noy. 30, afternoon—Library of the late Wil-
liam M. Laffan consisting of letters of Ben-
jamin Franklin and other important letters
and documents. g
Dec. American
and English furniture and embellishments to
be sold by order of Florian Papp, New York.
Dec. 7, afternoon—Library of the late Clar-
ence E. Williams, of Short Hills, N. J.
Also books from the library of Mrs. Isaac
Guggenheim, Port Washington, L, I
WALPOLE GALLERIES
12 West 48th St.
Dec. 3, morning and afternoon—Arms and
armor, edged weapons and police arms, in-
a the Baltzer and Lester groups of
North Carolina and New York.
1, afternoon—XVIIIth centur
BENGUIAT RUGS WILL
BE SOLD THIS WEEK
Some Owned by Portuguese Royalty
To Be Included in a Collection of
Oriental and European Treasures
Seventy-three rare collectors’ rugs and
carpets from palaces and churches in
Portugal, Spain and Italy and from im-
portant collections in America, from the
private collection of Messrs. Leopold and
Vitall Benguiat, assembled over a period
of forty years, are to be sold at the
American Art Galleries Dec. 4 and 5.
The de luxe catalogue, profusely il-
lustrated, gives three XVIth century
rugs in color. The first is an Ispahan of
fine texture, a wine-crimson background
offsetting a floral pattern of lotus and
palmettes; the border of deep blue with
0 | intersecting, undulating crimson and em-
erald green branches and recurring lotus
flowers and palmettes; the outer guard
of crimson with golden yellow and ivory
flower heads and leaves and the inner
guard in old-gold and seagreen. A me-
dallion rug of Dasmascus is beautifully
Others of the rugs Mr. Benguiat
bought from great collections in this
country, which has and for many years
700 | reproduced.
o| has had a greater number of fine rugs of
the Levant and the Orient than are
known to exist in any other country of
the world. Some he bought from the
Henry G. Marquand collection and others
from the Rita Lydig collection.
These rugs will be on exhibition from
Nov. 28 to the sale, Dec. 4 and 5.
Many Important Paintings Left to
W. A. Clark’s Heirs Will Be Sold
The paintings and objects of art left
to his heirs by the late William A.
Clark will be sold by the American
Art Association some time in January.
There are many fine works which were
not comprised in the bequest accepted by
the Corcoran Gal'ery of Art, Washing-
ton. Some of the important paintings
were mentioned in last week’s Art News,
and there are others of importance.
Included are Bocher’s “Pastoral,” a
shepherd and _ shepherdess; Ruben’s
“Magdalene,” a full-'ength nude; “Cows”
by Paul Potter; Wouverman’s “Winter
in Holland,” Teniers’ “Festal Villagers,”
a “Landscape and Figures” by John
Crome, which came from Agnew’s in
London and from Knoedler & Company
in New York; by Gainsborough, “The
Covered Wagon,” also “A Woody Lane”
from the Earl of Dudley collection, and
a “Landscape with Cattle and Figures.”
Cuyp is present with a “Landscape and
Figures”; there is a “Mother and Child”
by Van Dyck, from the Hope collection,
bought of Sir Roger Dona!dson; a “Por-
trait of an Old Man” by Gerard Dou; a
“Holy Family” by Joachim de Patinir;
J. M. Turner’s “Busy Port” with many
people, and the same artist’s “Sunset
Gardens”; Solomon and Jacob Ruys-
dael. with landscapes ; Constable with
“Fletford Mi'ls”; Daubigny with “Morn-
ing on the Oise” from the Salon of 1866,
Me. Henri Baudoin
Auctioneer
10, rue de la Grange Bataliére,
PARIS
will sell at the
Hotel Drouot, Room 10
on December 9 & 10, 1925
a fine collection of
German & Dutch Clocks
of the 16th Century
French Watches
in chiselled and enamelled gold
of the 17th and 18th Century
Experts: MM. Mannheim
at the
Galerie Georges Petit
8, rue de SeZe, Paris,
on December 11, 1925
a fine collection of
Old & Modern Paintings
furniture and seats of the
18th Century and an
important series of
Brussels and French
Tapestries
of the 17th and 18th Century
belonging to several owners
Experts:
MM. Féral, Schoeller & Mannheim
M. & R. STORA
Gothic and Renaissance
Works of Art
Paris, 32 BIS Boulevard Haussmann
“La Seine,” “Coming to Drink” ~ and
“Bords de Riviere” ; and Diaz with
“Chiens Griffons,” engraved in “One
Hundred Masterpieces,” also “Whispers
of Love,” “La Clairiere’ and “Land-
scape with Figure.”
By Troyon there are “Cattle and a
Girl” and two others by Lhermitte, a
pastel, “Laveurs de le Ferme” and two
canvases, “La Fanaison” and “Resum-
ing Work” ; by Delacroix a Salon paint-
ing, “The Toilet”; by Descamps,
“Horsemen under the Walls”; by Har-
pignies a painting bought from the ar-
tist; by Ziem a “Grand Canal” and a
“Venice” ; by Van Marcke “Cows in the
Valley” from the William H. Stewart
collection; by Breton “Le Gouter” from
the Salon of 1866 and from the James
A. Garland collection, also “Harvesting
the Poppies” from the Matthiessen col-
lection and “La fin du Travail.”
Among the rugs there are Gothic
and [spahan and Oushak, about thirty
pieces of fine lace including speci-
mens of point de Venise.
The catalogue will be by Miss Rose
H. Lorenz.
McBey’s Etchings Sell Fast
LONDON —It is not often that an en-
tire edition of a catalogue of contem-
porary etchings is sold out immediatey
on publication of the relative prospec-
tus, but this is what has occurred in
the case of Martin Hardie’s book of
James McBey’s “Etchings and Dry-
points from 1902 to 1924.” The book
contains all the etched work carried out
by this artist during these twenty-two
years. The publishers are Messrs. Co!-
naghi, New Bond St. at whose gal-
leries McBey frequently exhibits.
Carvings at Christie’s
LONDON—Dec. 1 will see the dis-
persal at Christie’s of the McAndrew
collection of Medieval and Renaissance
objects of art and Chinese carvings in
hardstones. Some important Koros in
jade from the Langweil collection, a
XVth century German diptych from the
Magniac co'lection in four panels de-
picting the life of Christ, and a leaf from
a XIVth century French diptych with
carved subjects beneath Gothic arches
are among many items of great interest.
BARBIZON SCHOOL
MARCEL BERNHEIM & Co.
2bis RUE DE CAUMARTIN, PARIS
(Half way between the Opera and the Madeleine)
MODERN PAINTINGS
IMPRESSIONIST SCHOOL
CONTEMPORARY SCHOOL
NAZARE-AGA
Persian Antiques
3, Avenue Pierre Ier de Serbie
Paris
L. CORNILLON
Mediaeval Art
89 Rue du Cherche-Midi and
21 Quai Voltaire, PARIS
BOIN-TABURET
Fine objects d’art
of the XVII & XVIIIth Century
11 Boulevard Malesherbes, Paris
J. FERAL
Ancient Paintings
7 RUE ST. GEORGES
PARIS
J. CHARPENTIER
OLD PICTURES
WORKS OF ART
76 FAUBOURG 8ST. HONORE, PARIS
Chas. Kaufmann
Ancient Tapestries, Point Old
Paintings, High Antiquities
23 Fauborg. St. Honoré, Paris
ST
KALEBDJIAN BROS.
Classical Objects
12 Rue de la Paix and 21 Rue Balzac
PARIS
CHARLES POTTIER
Packer and Shipping Agent
14, Rue Gaillon, Paris
Packer for the Metropolitan Museum,
New York
J. MIKAS
Greek, Roman & Egyptian
Sculpture
229, Rue St. Honoré, Paris
CHARLES BRUNNER
High Class Paintings
by the Old Masters
11 rue Royale, Paris, VIII
Purveyor to important Museums
Leon MARSEILLE
16, rue de Seine, Paris
MODERN PAINTINGS by
BOUSSINGAULT
DUNOYER DE NZAC
DE LA AYE
LOTIRON LUCE
LUC-A LBERT MOREAU
P. SIGNAC, V. BARBEY
R.G. Michel Gallery
127 QUAI ST. MICHEL PARIS V
Original Engravings and Etchings by
Béjot, Buhot, Mary Cassatt, Corot, Dau-
mier, Degas, Delacroix, Gauguin, Forain,
Lepere, Manet, Méryon, Millet Od. Redon,
Renoir, Whistler, Zorn, etc.
Catalogues on application.
MARCEL GUIOT
4 Rue Volney Paris
(near the Opera)
RARE PRINTS
by old and modern Masters
R. LERONDELLE
Packer and Agent
for the Carnegie Institute, Pittsburgh,
the Art Institute of Chicago, etc.
76, Rue Blanche, Paris IX.
FE. LARCADE
Art Objects of High Antiquity
140 Faubourg St. Honore
17 Place Vendome
PARIS
LE GOUPY
Rare Prints
Drawings—Paintings
| 5, Boulevard de la Madeleine, Paris
Pe eet ee - sal
a 2 RTE Rr
Dee en pe erm
The Art News
Saturday, November 28, 1925
__ INTERIORS AND
DECORATION _
HELEN COMSTOCK
BY
A Music Room Both Victorian and Modern
MUSIC ROOM IN THE RESIDENCE OF MRS. IDA I. pe J. HERSZEG
Courtesy of Karl Freund
The selective choice of the best that|they are far more creative than imita- | zontal surface after its one or two leaves
In their contribution to complete
effect of the room they take full ad-
the past has produced and the adapta- |
tion of elements so chosen to the needs
of the modern interior is evident in the
work of Karl Freund. Mr. Freund's |
ingenuity and inventiveness may be ad- |
mired in the music room designed for |
the residence of Mrs. I. de J. Herszeg |
of New York. While the source from |
which he has drawn is the early Vic-
torian, the room as he has finished it
belongs distinctly to the period of the
XXth century.
The designation “Victorian” has be-
come a generic name which may be ap-
plied to a truly enormous family of
styles and types of design, some of more
or less doubtful character so far as good
taste is concerned, and others of unusual
charm and grace. The Victorian con-
tribution to decoration is so vast a reposi-
tory of good and bad that it challenges
the modern decorator in a stimulating
fashion, for it must be drawn upon with
discrimination.
In designing this music room for Mrs.
Herzeg Mr. Freund has not al!owed him-
self to be mastered by Victorian diffuse-
ness. He has kept his general effect
well within his own control and_ has
proved entirely the master of the situa-
tion. Even so small a detail as the
‘ music stand goes back to the more re-
strained expression of the Victorian
spirit.
When it came to creating something
entirely in keeping with modern needs,
witness the lovely door at the left with
the panels of Chinese design. This door
conceals a victrola driven by motor
power, and in order that the sound may
escape freely there is a grille back of
the delightful pofcelain stork who holds
the focal point of the slight recess in
the wall in the center of the picture.
At the extreme left is one of Mr.
Freund’s very beautiful painted glass
screens. Another of these screens is il-
lustrated. The latter was designed for
Mrs. H. R. Mallinson of 270 Park Ave.
The entire screen is of glass set in a
wooden frame. At intervals are little
niches in the glass where some precious
jade’ figure or minute carving stands
against a colorful background in a flood
of light which fall's upon it from a hid-
den source. In their complexity of de-
sign and variety of coloring these
screens, ‘which are carried out in Mr.
Freund’s. own workshop, are entirely
unique. They are reminiscent of various
motifs of the past and the slave of none.
They ‘sometimes recall the use of the
chinoiseries motifs of the XVIIIth cen-
tury and at others suggest earlier de-
velopments of -French-elegance, and yet |
| vantage of their opportunity to add color
|}and character and distinction. Having
none of the more practical rights to ex-
stence of essentials like chairs and ta-
les, the screen must justify itself by
nleasing the eye to such an extent that
|it becomes a necessity. Mr. Freund’s
| screen is a particularly happy example
f the triumph of pure luxury.
An Early American Table
Matilda Browne (Mrs. Frederick Van |
Vyck) has made for me a sketch of |
n interesting Co‘onial table which is |
. ; . |
ow in her possession. Its construction |
so unique that it should appeal to all |
vers of the early American style. It
as for generations in the family of |
seneral Sickles and was formerly in the |
Id Sickles house at 9th St. and Fifth
\ve. She has found only one other
able of similar design and that is in
ne of the rooms in the American wing |
»f the Metropolitan Museum. The Mu-
eum table is round instead of oval.
It will be noticed that this unique
version of the gate-legged table has only
hree legs and that when the leaf is
iropped the table becomes perfectly flat.
Chis gives it an enviable compactness
which fits it to a variety of uses. Just
vhy so interesting a design should have
slipped out of use is something of a
mystery for its advantages both in ap-
pearance and adaptability are so obvious.
Some present-day cabinet maker is miss-
ng an opportunity to revive a charm-
‘ng and useful style.
The wood of the table is oak and the
top is made of a single board 22 inches
vide which has never in the slightest
legree warped with age. The only sign
»f wear is on the base where many a
foot has evidently found it an inviting
rest.
The more familiar version of the gate-
llegged table which still offers a hori-
“re dropped has of course its advan-
itages, but for the table which is to be
SCREEN THAT WAS DESIGNED FOR MRS. H. R. MALLINSON
:
—
Cis Ha ot ee i
COLONIAL GATE-LEGGED TABLE
Courtesy of Matilda Browne
attractive in use and can be retired to a
corner on occasion this design is ad-
mirable. It is also superior to the “tip-
top” table which stops being a_ table
when the top is turned vertically and
at the Same time takes up practically
as much room as ever because its base
still makes its demands on a circular |
space.
Furniture for Doll Houses
Furnishings for the home are generally |
considered solely as a matter for adults}
to consider, but how they may attain the
knowledge of what they want is generally
ignored. Just when the formative influ-
ences in the development of taste begin
to work it would be difficult to say, but
certainly the surroundings and the occu-
pations of our childhood have much to
do in forming the standards that hold in
later life.
With this in view it would seem justi-
fiable that any amount of time and art-
istry may well be expended in the making
of things that children handle. If furni-
ture and the toy houses they play with
are beautiful they will learn to recognize
and demand beauty later on. It is the
belief in this principle that the Crawford
furniture for children’s doll houses, which
is on exhibition at the Arden Galleries
beginning Dec. 1, was made. Hand
carved, delightful in design and color,
complete in their duplication of “life-
size” furniture, these diminutive furnish-
ings will undoubtedly add to the mental
equipment as well as the pleasure of the
child into whose hands they are placed.
All the accessories for the table and
writing desk are miniature and exact
| reproductions of those that grown-ups
use, beds can actually be made, little
cushions and curtains are of exquisite
materials, and tiny paintings for the walls
display the subjects and treatment* that
a connoisseur would demand, so that the
child becomes early accustomed to the
material equipment of the home in good
taste.
Museum Conference in New Haven
NEW HAVEN. — The eighth annual
meeting of the New England Conference
of the American Association of Museums
will be held in New Haven on Dec. 28
and 29, with headquarters at the Yale
School of the Fine Arts.
Lewis &
| Simmons
Old Diiiian
and
Art Objects
730 Fifth Ave., New York.
Heckscher Bldg., Fifth Ave. at 57th St.
LONDON—180 New Bond Street
PARIS—16 Rue de la Paix
Objets
730 FIFTH AVENUE
SYMONS, Ine.
Antique Furniture
d’Art
NEW YORK
Courtesy of Karl Freund
Frank T. Sabin
Established in 1848
OLD MASTERS
PAINTINGS
and
DRAWINGS
of the
HIGHEST QUALITY
172 New Bond Street
London, W. 1
Only Address
C.T. LOO © CO.
34 Rue Taitbout . Paris
559 Fifth Ave., New York
Chinese
Antiques
od
BRANCHES
SHANGHAI . . PEKIN
ven
nnual
rence
eums
c. 28
Yale
|
ork
treet
Si__
aris
‘ork
KIN
preg
Saturday, November 28, 1925
The Art News
7
Mi
Intimate Glimpses of Byron and
Dickens in Collections Soon on Sale
“THE DYING CLOWN
Courtesy of the
On the
In the to be solc
evening
Dickens collection
To be bored by an auction catalogue
of course, impossible. One is in- | ;
trigued, delighted, according to one’s ap- |
petite and the art with which the meal
is prepared. But to be fair made drunk
with a catalogue, by its very definition
the merest taste of a collection, is surely
rare. Yet that what has just hap-
pened to me, and the collection—
1S,
is
night preceding his suicide the
|
of
or rather |
collections—responsible for my down-
fall are those of Byron and Dickens
which are to be sold at the Anderson |
ar eos on Dec. & I defy anyone
whose blood has yet some tinge of red
in it to remain cool after sipping this
astonishing cocktail.
To begin with the Byron, one is al-
most forced by the wealth of material to
pass over such everyday matters as rare
first editions, presentation copies and the
like in favor of still rarer association.
Hardly a letter, but has a letter or other
autograph laid in, and no “Yours of the
16th. ult. to hand” either, but a real
letter, a fragment of Byron’s life. Thus
a copy of the very rare first edition of
“English Bards’ (London, 1809)
an A,
April 22, 1923, in which Byron recounts
his attempt to play mysogynist at a
dinner party, only to be caught and
presented to the French Ambassadress; a
copy of Childe Harold’s “Pilgrimage”
(London 1812) has the original auto-
graph manuscript of the poem “On
Parting,” with corrections, as composed.
A copy of the “Poems” (London 1816)
has an A.L.s from none other than
A.S. DREY
#
Old Paintings
and
Works of Art
#
MUNICH
Maximiliansplatz 7
has |
L.s to Lord Blessington of date |
RARE BOOKS AND MANUSCRIPTS
By GUY BCLINGTON
ee
a
¥
wh
By
artist was at
at the Anderson
Dec. 8.
Augusta Leigh, to oh the publisher,
asking for a copy of ‘
‘hes«
ROBERT SEYMOUR
Anderson Galleries
work on this drawing.
Galleries on the
Fare Thee Well!”
» alone and the splendid collection | her
lof Firsts which they accompany wotld
| make the sale noteworthy.
| But when one comes to the items ‘of
pure association the attention is, if pos-
sible, even more powerfully gripped. A
Roman history, used by Byron at school
in Aberdeen and bearing his signature,
of date 1796, aged 8, his earliest known
autograph, vies with a terra-cotta ti.e
taken from his grave when it was opened
to admit the body of his daughter, Ada,
and pales before the accumulated as-
sociation of a favorite snuff-box, in tor-
toise shell and gold, given by Byron to
Edmund “Kean and by Sir Henry Irving
to William Winter. But even these are
put in«the-shade by the “Collection of
Authentic Relics of Lord Byron, Coun-
tess Guiccoli and Lady Caroline Lamb.”
This latter is not less interesting for
the manner. of its presentation than for
its contents. : Ringlets from the heads
of lover *and .mistresses, autograph let-
ters, and’ three “exquisitely painted min-
iatures in ivory,” bound up by San-
gorski and Sutcliffe into one volume 4to.
in crushed crimson levant Morocco, with
the arms of Lord Byron and the mono-
| grams of all three laid in the corners.
O Romantic Age that art passing, what
| more suitable memorial couldst thou de-
sire? Even the letters preserve un-
touched the romantic spirit, the one
from Countess Guiccoli the model for
|a sorrowing mistress: “The Countess
Guiccoli presents her compliments to
Lady Morgan and sends to her some
lines of Byron’s handwriting, together
with some hairs of him. She adds to
that a ringlet of her own hairs—only
because Lady Morgan asked for it. But
she cannot do that without a sort of
remorse—as it was a profanation to put
together in the same shrine so holy relics
with so trifling a thing.” Than which
Donne, poet laureate of hair and other
human parts, did, I think, hardly bet-
ter. Save that he smiled.
Nor must it be thought that the Lady
Caro'ine Lamb is to be outdone. Forty-
one. letters to her friend and confidante,
the same Lady Sydney Morgan, bear
witness to her undying love for “Childe
Harold.” In one she lists in order of
affection, her loves. Her husband
Oscar Wilde as Max Beerbohm Saw Him
Courtesy of Gabriel Weils
A hitherto unpublished cartoon, now in the
collection of A. Edward Newton
first, her mother next. Then Byron.
The Lady Caroline is in crushed brown
levant Morocco, by Riviere.
Arrived at the second session,
sold on the evening of Dec. 8,
faced with a Dickens collection, the
property of Mr. Newbury Frost Read,
that is no less imposing. The Pickwick
Papers, bound up from the original
parts, a presentation copy of the first
edition of “Oliver Twist” from Dickens
to Sergeant Talfourd, the complete
parts of “Master Humphrey’s Clock,”
with original drawings laid in, rare first
of minor works—these one is entitled
to expect, and these are but picked hap-
hazard from a far greater number. But
there are many items which not the
most exacting should have the right to
demand.
Let us catalogue. There is “The
Great International Walking Match of
February 29th, 1868,” recording the vic-
tory of “The Boston Bantam” (James
R. Osgood) over “The Man from Ross”
(George Dolby), the contest described in
American sporting language by “The
Gad’s Hill Gasper” (Charles Dickens),
a printed broadside signed by Dickens,
Dolby, Osgood, James T.
A. V. S. Anthony; Dickens’ MS. of |
his prologue, delivered by Macready,
to Marston’s tragedy, “The Patrician’s
Daughter,” in which he cries out for an
art of his own day:
“Awake the Present!
display
The tragic passion of the passing day?
Is it Gan man, as with some meaner
thin
That out of death his single purpose
springs? ..
Obscurely shall
fade
Dubb’d noble
spade?”
The draft title page, in Dickens’ hand,
for Oliver Twist; the original contract
for “Our Mutual Friend,” signed and
dated Nov. 21, 1865; the original MS.
of “The Perils of Certain English Pris-
oners,” presented to Wilkie Collins, in a
Riviere binding, by his collaborator.
The letter which accompanies the last
is worth quoting:
to be
one is |
Fields and |
Shall no scene
suffer, and
by
he act,
only the ‘sexton’s
Tavistock House
Saturday Sixth February 1858
Dear Wilkie
Thinking it may one day be in-
teresting to you—say, when you are
lan inquiry,
weak in both feet, and when I and
Doncaster are quiet and the great
race is over—to possess this little
memorial of our joint Christmas
work, I have had it put together
for you and now send it on its com-
ing home from the binder.
Faithful Ever
CuarLes DICKENS
Of even more personal interest is a
letter to Mrs. Hogarth, Dickens’ Mother-
in-law, relating to the death of Mary
Hogarth. Mary was certainly the wo-
man for whom Dickens cared most
deeply and he speaks of her with the
same remote tenderness that he used
to speak of the heroines of his. novels.
There follows an astonishing collec-
tion of original i‘lustrations by Cruik-
shank, “Phiz,” Seymour Leech and Cat-
termole, chief among which may be cit-
ed an original wash drawing by Hablot
K. Browne for “Pickwick Papers,” en-
entitled “Mrs. Leo Hunter’s Fancy Dress
Dejeuner,” with criticisms in Dickens’
hand; another by the same hand “Mr.
Wilkins’ situation when the door blew
to,” also for thé“ Pickwick Papers,” with
signed C, D., as to whether
the lady was fully dressed. “She ought
to be’; an original pencil and water-
color drawing by John Leech for “A
Christmas Carol,” entitled “Scrooge’s
Third Visitor.” But rarest, as I think,
and certaihly most beautiful, is the last
drawing which Robert Seymour made
for Pickwick Papers and on which he
was working the night preceding his
suicide. “The Dying Clown” reproduced
herewith, strikes a note of grotesque
tragedy which Dickens was only to at-
tempt much later and even then with
less sure a hand. From this drawing
|one may gauge how great was his loss
from Seymour’s death.
But the sale is not entirely restricted
to Byron and Dickens. There are other
noteworthy items: Arthur. Hallam’s
copy of Tennyson’s “Poems” (London
1830), bound up with Hallam’s own that
should, by the original design, have
been included with them. A small col-
lection of Beardsley drawings, includ-
ing a vest pocket note book, filled with
sketches in pen-and-ink and _ pencil,
many in his best manner, and his famous
caricaturd of Whistler. And, perhaps
most astonishing of all, a group of nine
intimate autograph letters from George
Moore to the Marquise Clara Lanza.
-M. KNOED
H. B. BR
15 Old Bond Street
LONDON
| Established 1846
14 East 57th Street, New York
Exhibi
Water Colors, Drawings and Pastils by
November 30th thru December 12th
|
!
| and 100 Etchings by Modern Masters
|
LER & CO.
tion of
ADAZON
17 Place Vendome
PARIS
JAN KLEYKAMP GALLERIES
CHINESE ART
3 AND 5 EAST 54TH STREET
NEW YORK
asain
J. BLOCKX FILS|
| Oil and Water Colors |
\“The finest in the world—
Standard of the colormen’|
|
£
|
|
Sole Agents
Victor Claessens Belgian
| CANVAS
| In widths from 17 inches to 13 feet 6
jinches, lengths to 43 yards in one piece
Imported and Domestic Artists’
MATERIALS
Schneider & Co., Inc.
2102 Broadway at 73rd St., New York
Dikran G. Kelekian
Works of
Art
709 Fifth Avenue, New York
Opposite American Mission, Cairo
2 Place Vendome, Paris
The ART News
Saturday, November 28, 1925
THE ART NEWS
Published by
The ART NEWS COMPANY, Ime.
49 West 45th Street, New York
Manager... Ss. W. FRANKEL
Officers of the Corporation: President, Peyton
Boswell; secretary, J. H. Hornung; treasurer,
S. W. Frankel
EDITORIAL STAFF:
Editor-in-Chief PEYTON BOSWELL
Editor WILLIAM SALISBURY
Art Director . . . DEOCH FULTON
Associate Editors:
HELEN COMSTOCK
WILLIAM A. ed
GUY_EGLINGT
CH ay ay ti PLEISCHER
RAL
ELSIE GRE EN THEW
Entered as second-class matter, Feb. 5, 1909, at
New York Post Office, under the’ Act,
March 3, 1879.
Published weekly from Oct. 10 to last of June.
Monthly during July, August and September.
SUBSCRIPTION RATES
YEAR IN ADVANCE ... «- « $4.00
Canada ee eo ee 6
abe gh Countries ss 0-8 5.00
Single Co <a a 15
WHERE THE ART NEWS MAY BE
OBTAINED IN NEW YORK
Brentano’s.....-+secseereeeee 1 West 47th St.
William Einsel...........+..+++ 34 East 58th St.
Egmont H. Arens. - Washington Be, Book Store
27 West 8th St.
Gordon & Margolis............ 32 East 59th St.
iis) PUD 0 46660440.6006b0 60006 62 West 8th St.
Times Building News-stand....Times Building
Subway Entrance Basement
WASHINGTON
F and 12th St. NW
Sith NTA, GA
Cole Book & Art Co.......123 Whitehall St.
* BOSTON
Vendome News Co.........- 261 Dartmouth St.
PHILADELPHIA
deovceecereses . ++ (Book Counter)
LOS ANGELES
ey Wi PERM cs oucbccoessecesce 353 Hill St.
CANADA
The Carroll Gallery..... 117 King Street, West
Toronto, Ont., da
LONDON
..17 Old Burlington St.
Leicester St.
Leicester Sqr. W. C. 2
PARIS
The Art News Office............ 26 Rue Jacob
BRIN Di vivo cv cctcectes 37 Avenue de l’Opera
Vol. XXIV—Nov. 28, 1925—No. 8
OUR WEAKLY CRAFTS
The failure on the part of American
designers to produce anything worthy
of exhibition by the Art-in-Trades Club
for its fourth annual exhibition is an
indication of an unhealthy state of af-
fairs which is going begging for a rem-
edy. The absence of the combined
knowledge and inventiveness which ex-
plain the situation is not so much a mat-
ter of ability as of a lack of interest.
The arts which form and furnish the
interior of our homes are not of suffi-
cient interest to enough people. Ignor-
ance can be obviated where there is a
will, but indifference is almost uncon-
querable.
The stigma attached to doing anything
with our hands which is one of the
aristocratic by-products of our demo-
cratic civilization is perhaps responsible
for the distaste which seems to have
decimated the crafts. It is due not alone
to the fact that we live in the age of ma-
chinery that the artist-artisan has disap-
peared.
There is not in the city of New York
a first-class cabinet maker of American
birth and training, although there are a
number of foreigners on whom the deco-
rators can depend for the highest type
of work. The need for skilled crafts-
men is so urgent that the Society of
Decorators has taken upon itself the aid
of schools where the crafts are taught.
The real significance of the announce-
ment by the Art-in-Trades Club that it
was not offered any designs worthy of
carrying through for exhibition purposes
is not that our designers have simply
fallen down and there is nothing to do
about it. The onus is not theirs alone.
A widespread knowledge and practice
of the crafts has always been the soil on
which the great period styles of the past
have flowered. Along with a great body
of skilled artisans have always come the
great designers, like Inigo Jones and
Le Brun and Boule, the Adams and
Chippendale; the men who formed the
style did not appear as single and un-
related phenomena in their respective
periods.
lies the work of the great designers of
the past has no counterpart today.
“PRINTS OF THE YEAR”
It would seem as if the American In-
stitute of Graphic Arts had found a
solution for the rather pretty problem
to handle the
“traveling art show.” In the current ex-
hibition of “Fifty Prints of the Year”
at the New York Art Center, this or-
ganization has had the perspicacity to
of just how so-called
make the issue a double-barreled one by
having one-half of the show devoted to
work of the conservative group of print
makers and to let the other half stand
for what is best in the “modern” port-
folios. They have thus caught two or
more birds in the one net, and in so doing
have created an exhibition that will fulfill
the functions of a traveling show by
exciting a controversial and critical in-
terest in the prints selected.
The American Institute of Graphic
Arts has already had two other traveling
shows of consequence, one dealing with
books and the other with commercial
printing, in each case setting forth the
highest achievements in those lines. But
it has inaugurated a new policy in taking
two sides of the question at the same
time, and giving the public not only a
chance to see for themselves the best
work of each school but to do their own
deciding as to their relative merits. It is
evident that sending out traveling art
shows which are, in the case of the more
costly and unwieldly forms of art like
paintings and sculpture, almost inevitably
of second and third rate importance, is
getting but a short way in creating a
genuine interest in the fine arts.
In all points the mental attitude of the
American Institute of Graphic Arts in
assembling this particular exhibition is
worth serious consideration, if not emu-
lation. The modus operandi is one that
can be readily applied to exhibitions of
all kinds intended to be sent abroad over
the country. To begin with, two men
were appointed sole judges of what
should be selected, one man for each
school and each man of that school.
They studied the situation most thor-
oughly. In the case of Ralph M. Pear-
son—the advocate for the Modernists—
it was a matter of two years’ delibera-
tion before the final choice was made.
Given this large authority, “each judge
could go at the problem with a fine free-
dom and enthusiasm. Then with the two
parts of the exhibition fitly and finally
joined together, the exhibition was really
worthy and ready to go forth and do
battle for high art. Its qualities were
such as to excite a wide attention, its
different aspects a provocative response.
Whichever way the verdict, at least some
side of the matter would have been taken
up with righteous espousal and warmth
of feeling, and so another devotee to
art would have been secured. Why not
let the traveling exhibitions of painting
and sculpture or any other form of the
fine arts to be broadcasted be put to-
gether in this frank and open way? Then
there would be an issue at stake, and
with each side on its mettle; and natur-
ally only the best examples would be
forthcoming. This “Fifty Prints” show
would seem to embody a big idea.
BARTLETT’S “ROBERT MORRIS”
Editor the Art News: I notice that
your Philadelphia correspondent “E. L.”
falls into a popular error; that Robert
Morris in his lifetime had something to
do with the building on the steps of
which his statue by Bartlett has recently
been erected. As a matter of fact the
Revolutionary banker was in no way con-
nected with the edifice. It was formerly
the banking house of the Second Bank
of the United States, which was char-
tered only in 1816, and the building itself
occupied in 1823.
Robert Morris, as the inscription on the
pedestal sets forth, died in 1806, or ten
years before the chartering of the bank.
It is an imposing enough site, but chrono-
logically considered, the figure of Morris
| bears no relation to the classic building
The foundation which under- | in the background.
—Edward Biddle.
A Sculpture of the Golden Age in Egypt
TOMB STELE
EGYPTIAN, IVth OR Vth DYNASTY
Courtesy of the Cleveland Museum
This one of the two reliefs of the early style of Egyptian sculpture (2900-2625 B. C.)
which are a part of
of the Cleveland Museum of Art.
sculptor
the Huntington collection and have just been installed in gallery XV
Yellow sandstone is the material in which the
worked.
HAVE YOU HEARD THAT.---
The hobbies of some artists are very
interesting. Here are a few instances:
Lowell L. (Tony) Balcom, building tiny
models of old American clipper ships;
Alexander Couard, flower-growing and
mortar-mixing ; Percy Bariow, travel-
ing; John Stewart Curry, hunting, and
his new home; John Held, Jr., politics
(he’s a real, honest-to-goodness country
constable) and farming; Percy E. An-
derson, putting a smile on the face of
humanity; Howard and Ellen Heath,
digging rocks out of a Connecticut hill-
top and planting flowers; Everett Shinn,
writing stories and plays; Harry E.
Hult, reading and motoring; Ray
Strang, “riding the rods”; Eugene
Speicher, gardening; Clark Fay, polo;
Laura Fraser, modeling puppies and
raising geese.
*
* * * x
Colcord Hurlene (known as “Red”)
who draws many of the colorful covers
for Adventure and other publications,
possesses as colorful a career. He has
been a hobo, stevedore and longshore-
man. He has worked in a lumber camp,
prospected in Alaska, and served over-
seas during the war.
* * *
Mr. and Mrs, Frank Townsend
Hutchens of Silvermine are going
abroad for the winter with the inten-
tion of spending most of their time in
Italy. Jewelry designed by Mrs.
Hutchens this summer was exhibited at
the Bridgeport Art League club house.
Last month Mr. Hutchens held a ten-
day exhibit of his paintings in Bridge-
port which created such a favorable im-
pression that enthusiastic Bridgeportians
exacted a promise of another exhibit
upon his return to America.
* * a a *
William J. Scott divides his year be-
tween Martha’s Vineyard off the coast
of Maine and Westport, Connecticut,
spending summer at the first and winter
at the latter, and each place is the luck-
ier for his painted impressions.
* * * * x
Serena Cleveland, who wrote the amus-
ing letter to the Grand Central Art Gal-
leries from Mankato, Kans., which ap-
peared in this column several weeks ago
has written again to Mr. Barrie. Her
letter will probably be a severe blow to
the artist who paints with his palette
knife and gains his effect with pigment
an inch thick. She says that she has to
paint very smooth because the dust is so
thick out there that the picture would
soon look. flat anyway. Also the rooms
are small and you can’t get far enough
back to see what she calls a “rough pic-
ture.’ Her work, the “smooth” kind,
looks well close or far away.
She complains too of the jealousy and
prejudice she has to meet—no news to
an artist anywhere—and philosophizes
that the artist has a “hard row to hoe.”
“But I do not care for honor,” she says,
“if they would only treat me like a
friend.”
a OBITUARY | B
JOHN D. McILHENNY
John D. Mcllhenny, President of the
Pennsylvania Museum and School of In-
dustrial Art, died on Nov. 23 at his home,
Chestnut Hill, Philadelphia.
He was a director of the Art Alliance,
a trustee of the Fairmount Park Art
Association, a member of the Philadel-
phia Cricket, Rittenhouse and Art Clubs,
the Union League and the Scotch-Irish
Society. He owned paintings by Reyn-
olds, Gainsborough, Rembrandt, Romney,
Stuart and Corot. Mr. Mcllhenny con-
tracted a serious illness after his recent
return from Europe.
GUY ROSE
Guy Rose, painter and illustrator, died
at his home in Pasadena, Cal., after five
years of invalidism. He was born in that
state in 1867. In San Francisco he was
a pupil of Emil Carlsen and in Paris he
studied under Lefebvre, Constant and
Doucet. He was a member of the Cali-
fornia Art Club. He received an hon-
orable mention at the Paris Salon, 1894;
medals at Atlanta, 1895; Buffalo, 1901;
San Francisco, 1915; San Diego, 1915,
and prizes at various art shows, the last
being the first Harrison prize at Los
Angeles in 1921. He is represented in
the Los Angeles Museum by “Carmel
Coast,” and by two pictures in the Cleve-
land Museum.
J. STEWART BARNEY
J. Stewart Barney, painter, architect
and writer, died at his home, 863 Lexing-
ton Ave., on Nov. 22, aged 57 years.
He graduated from Columbia in 1890
and studied architecture at the Ecole des
Beaux Arts in Paris. During the twenty
years following his return to this country
he designed many buildings of a public
and semi-public character. In 1915 he
turned to another branch of art, and for
the remainder of his life devoted his tal-
ents to the painting of landscapes.
He principally painted scenes about
Newport and Bar Harbor, and in Scot-
land and Virginia. He held exhibitions
annually for several years at the Kingore
and Erich Galleries. He was a member
of the League of American Artists, the
Newport Art Association, and of several
prominent social clubs.
ALLIED ARTISTS’ JURY
MEETS IN PUBLIC
To Show Fairness, the Jurors Permit
Anyone to Watch Them Select
or Reject Works for Exhibition
_ The meeting he'd last Saturday of the
jury of selection for the thirteenth an-
nual exhibition of the Allied Artists
was open to the public. This, so far
as is known, is the first instance in
which the work of such a jury was ever
carried before an audience.
Some forty or fifty people answered
the invitation to watch the jury in the
Vanderbilt gallery of the Fine Arts
building. Glenn Newell, chairman of
the committee, said that if any one so
desired he could even look over the
shoulders of the men who counted the
votes, but no one took advantage of this
opportunity.
“There has been so much talk about
the favoritism that juries are supposed
to show in arranging an exhibition of
this kind,” said Mr. Newell, “that the
Allied Artists have decided to let the
public see, if they wish, just how a jury
works. We want above all things to
be fair and in order to prove our stand
we are willing that everybody see ex-
actly what we do.”
The jury in action proved itself fair
even to leniency. It was first decided
that all pictures which had a two-thirds
vote for acceptance should not be brought
up for revision, while those which were
“doubtful” or “rejected” should be gone
over a second time. The names of the
artists were not mentioned as each paint-
ing was brought up, although the work
of many of the better known artists
was easily recognized. One of Mr.
Newell’s own pictures was among the
first to be brought up and as he voted
he said that he would vote “no” on it
although he realized that he was taking
an “awful chance.”
The present exhibition of the Allied
Artists is the first to which non-members
have been invited to contribute. Those
whose pictures are hung pay $5, which
goes toward the expense of the exhibi-
tion, while members pay twice as much.
This is done in order to give encourage-
ment to newcomers, which is one of the
purposes of the organization.
The Allied Artists are awarding prizes
in connection with their annual exhibition
for the first time in their history. The
committee of three elected by the jury
of selection for the bestowal of these
awards consisted of non-members, Doug-
las Volk, Francis C. Jones and Herbert
Adams. The exhibition opened with a
private view on Nov. 27 and to the pub-
lic on Nov. 28.
The medal of honor was given to a
non-member, Carl R. Krafft of Chicago.
Brown & Bigelow of St. Paul, the calen-
dar firm who held a competition last
year, offered two medals. The gold one
went to Howard L. Hildebrandt for a
painting, “The Pool,” and the silver
medal to a new sculpture by Harriet
Frishmuth called “Play Days.”
Bourdelle’s “France Saluant” Is
Acquired by Brooklyn Museum
“France Saluant” by Antoine Bour-
delle, the bronze statue fifteen feet high
which has been shown at the Kraushaar
Galleries and was illustrated in THe Art
News of Nov. 14, has been acquired
through anonymous gift by the Brook-
lyn Museum.
This bronze is a replica of the figure
that will stand in front of the monu-
ment on the Pointe de Grave near Bor-
deaux commenorating France’s aid to
this country in the Revolutionary War,
and our aid in France in the recent war.
The architect of the work is André Ven-
tre, and other sculptural work will be
done by Bartolomé and Navarre. The
statue is now to be seen in the great
sculpture court of the new wing of the
Museum.
Women Artists Open New Home
The National Association of Women
Painters and Sculptors will open its new
home at 17 East 62nd St. on Dec. 1 with
an exhibition of small paintings, sculp-
ture and miniatures by members. At @
recent meeting of the associaton seven-
teen artist members, twenty-six asso-
ciate members and one sustaining mem-
ber were elected.
Carnegie Buys a Marius Bauer
PITTSBURGH—The Carnegie Insti-
tute has bought from the current Inter-
national show the painting entitled “In-
terior of a Mosque” by Marius Bauer.
The artist, although born in Holland,
draws almost entirely upon the Orient
for the subject matter of his paintings.
He is renowned both as an etcher an
iC
nit
ect
the
an-
ists
far
in
ver
red
the
irts
of
so
the
the
this
out
sed
of
the
the
ury
, to
and
ex-
fair
ided
irds
ight
vere
one
the
1int-
york
tists
Mr.
the
oted
n it
king
llied
bers
hose
hich
hibi-
uch,
age-
' the
rizes
ition
The
jury
these
joug-
rbert
th a
pub-
to a
cago.
alen-
last
l one
or a
silver
irriet
eum
3our-
high
shaar
: ART
uired
rook-
igure
nonu-
Bor-
id to
War,
- war.
‘Ven-
ill be
The
great
»f the
‘omen
s new
| with
sculp-
At a
seven-
asso-
mem-
uer
Insti-
Inter-
1 “In-
Bauer.
olland,
Orient
ntings.
Saturday, November 28, 1925
The Art News
PARIS
It would be interesting to make a
study of deformation in art, particu-
larly the deformation of the human face
and figure. When it is not entirely
due to an unskilled hand, an inexpe-
rienced eye, or to a diseased mind, this
deformation always has its origin in
the desire, conscious or unconscious, to
give a more sensitive rendering of the
subject by exaggerating its characteris-
tic features. In all times there have
been artists who deformed and others
who faithfully respected the human form.
The greater number of artists who have
deformed have done so in order the
better to express their ideal. Boticelli
and Michelangelo did so, representing
the human body such as it should be, or
if you will, such as it is in its perfec-
tion. Others represent it as it is and
as it should not be, Rembrandt for ex-
ample when he paints the body of a
woman. Nearer to us, Cézanne and
Renoir have deformed, probably with-
out being conscious of it. Modigliani,
an artist of great talent, prematurely
dead only a few years ago, was a great
deformer. Who could object to this,
seeing the portraits and nudes by this
artist which are now on exhibition at
the gallery of Bing and Co.? Long mis-
understood and now, when it is too late to
be of service to him, appreciated .at his
full value, this artist, as much by his
difficult and dramatic life as by his orig-
inal talent, was one of the most marked
personalities of these times. He began
as a sculptor and it is possible that his
painting Owes, in a certain measure, to
the severe discipline which that profes-
sion imposes upon those who understand
it, his solid construction and his plas-
ticity. Two great influences, which
were periectly digested, and which in
no way diminished his personality, that
of Cézanne, and that of negro sculp-
ture which he helped to discover, are
felt in his work.
Exclusively a figure painter he has left
nudes and portraits of a great origin-
ality. His nudes, generally in that red-
dish tone which was peculiar to him,
are broad in style, decorative and sup-
ple, and notwithstanding their apparent
absence of modeling, extremely plasti
As to his portraits, which always have
a great intensity of expression, especially
of young girls, pensive and resigned,
whom he so often painted, they are rev-
elations of the compassionate soul of
their author and of his sad conception
of life. Their touching character is
not only intensified by the deformation,
or if you will, the exaggeration of cer-
tain features, but also by the intentional
absence of expression in their look, the
e-e often being without a pupil, a meth-
od taken from sculpture and giving a
profound and moving expression recall-
ing the look of blind faces, an expres-
sion which one may qualify as eternal.
Evidently such a method cannot be set
as an example and Modigliani himself
would have been the first to recognize
this and to free himself from it if death
had not brutally put an end to his ca-
reer. In any case it is evident that with
Modigliani deformation was never meant
as the search for an original formula,
but was used for the object of express-
ing, by taking the human form as his
medium, it being the most sensitive in-
strument in existence, the reactions of
his soul and of his heart to life. In its
ensemble this exhibition, which comprises
about forty works, is very successful.
It is only to be regretted that some of
the fine drawings which he made at the
Rotonde and which he willingly ex-
changed for a g'ass of whiskey, drawings
so sure in line and so rounded in form,
have not been exhibited.
Knowing that the Swiss are famous
for their glaciers and that Calvin was one
of their most illustrious children, one im-
agines that Swiss artists can only pro-
duce a painting that is cold and austere.
From this to judging it as hard there is
but a step. Surely in its ensemble Swiss
art has a certain severity of character,
and shows rather, as with Hédler, the
A Swiss Who Does Not Paint Austerely
“BATHER”
By ERNEST KOHL
One of the recent paintings shown in the artist’s exhibition in Paris.
influence of Germany than of Italy, but
it would be a mistake to believe that
Swiss artists are all austere. Certain of
them, such as M. Ernest Kohl, who at
this moment is having an exhibition at
the Carmine Gallery, are not in the least
so. If we were to make a somewhat
summary division of their artists into
two categories, idealists and realists, M.
Kohl would be without hesitation classed
among the first. It is true that one might
also divide the idealists into two categor-
ies—the optimists and the pessimists or,
if you will, those who love beauty and
those who are in love with ugliness. An
artist of high standing, M. Rouault, for
example, who paints women like ghouls
with big heads, ferociously bestial is in
love wth ugliness, but it is at the same
time a sort of inverse idealism. On the
contrary, the women who form the sub-
jects of M. Ernest Kohl’s compositions
have always a long body, a small head,
and noble poses. A very special grace, sup-
ple, indolent and slightly melancholy, in-
spires them and gives them great charm.
Some people think they discern in his
work the influence of Modigliani, but I
do not find a trace of it. Others assert
that his painting recalls that of his com-
patriot, M. Bosshard, a very superficial
resemblance due to the fact that these
two artists have had the same formative
influence and make use of the same sub-
jects. But in the art of M. Kohl there
is a suppleness, a freedom, a tenderness
one might say, and also in spite of his
modern character, something classic
which is peculiarly his own. The word
classic moreover, is all the more appro-
priate when applied to his art because his
figures, notwithstanding the elegance of
their attitude, are never affected nor las-
civious, but always robust, grave and
broadly composed. In fact, the figure of
the woman, sometimes standing, some-
times reclining, always dreaming upon his
canvases, is none other than his concep-
tion of the eternal Venus, and it is for
this reason that his backgrounds, bluish
and pearly, are always more or less evo-
cative of the sea from which she sprung.
These backgrounds — profound, silky,
mysterious and schematic—are very at-
tractive. It is true that their exclusive
use might become monotonous, and he
would do well to vary them, and it would
be easy for him to do so because, no
TAMA RIN
RARE ART-WORKS & OLD MASTERS
1S, AVENUE DES CHAMPS: ELYSEES
‘ ANCIEN HOTEL OU OUC DE MORNY>
PARIS
matter what the background against
which they were posed, his figures would
lose nothing of their charm.
At a time when so many artists believe
themselves obliged, in order to be in a
fashion which is already beginning to be
wearisome, to affect a style which is
coarse and basely realistic, we must feel
grateful to artists who are not afraid to
be elegant and refined. I find that I
have said nothing as to M. Kohl’s tech-
nic. His touch, though broad and de-
cided, is never heavy, while as to the
texture of his painting, his pigment, if
I may dare say so, is like fine enamel,
transpatent and luminotis, smooth, and of
a very agreeable quality. His harmonies
are usually in silver-blue and rose-mauve.
In fact, to sum it up, I should say that
he has that rare thing, the gift of style.
He will not be long in making himself an
enviable place among the painters of the
younger generation. —H. S. C.
MONTREAL
The upper galleries of the Art Asso-
ciation are at present in process of mak-
ing ready for the forthcoming Academy
exhibition, while the lecture room holds
a memorial collection of the works of
the late Helen G. McNicholl A. R. C. A.
and member of the Royal Society of
British Artists. While the rendering of
sunlight was her chief preoccupation,
Miss McNicholl was equally happy in
painting interiors with figures.
On the same floor, in the print room,
Miss Dorothy E. Vicaji of London, who
is making a professional visit to Canada,
is showing some of the portraits doné
recently in Ottawa and in Montreal.
In speaking of her work in general
terms one can say that there is an air
of great distinction in each of the twelve
canvases that form this exhibit. A very
happy portrait is that of Lady Drum-
mond,
At the Morgan building is an ex-
hibition of painting and sculpture by
members of the Women’s Art Society,
in which there are over 200 works, in-
dicating What is done by this society for
the encouragement and development of
painting and sculpture by amateurs.
—A, D. Patterson.
BERLIN
A very important addition to the Arts
and Crafts museum in Berlin is the ac-
quisition of one of the oldest pieces of
German faience pottery. It is a jar in
owl form painted in blue and gold, which
formerly belonged to the la Herche col-
lection in Beauvais and has been de-
scribed in a publication by the French
author Jacquemart. It is dated about
1545, while the oldest piece of German
faience known to research is in the
Germanische Museuin in Nuremberg and
dated 1526. The owl-formed jar is 14
inches high and bears on both sides
figural representations. The place of ori-
gin is very probably the town of Brien
in the Tyrol. A set of six Renaissance
carpets with motives taken from Cran-
ach’s paintings and the date 1621 have
been added to the collection of weavings.
LONDON
The event of the week has been the
opening of the “International” at Burl-
ington House, a place whose very name
seems to have acted as a sort of spur,
for never has the society made a more
effective show of work than on this oc-
casion, or lived up to its name with
greater appropriateness. Thanks to the
arrangement of the exhibits and the
grouping of certain sections of the pic-
tures, such as those by Hungarian and
Russian artists, one derives a greater
idea of what is being done “interna-
tiorally” in art than has been possible
h:therto, while the inclusion of a num-
ber of our own (that of Renoir, Degas
and others), is useful as a means of
airiving at a just estimate of what is
being done by the Ultra-Moderns. That
the show as a whole is about as full of
new ideas as an egg of meat, is respons-
ible for the fact that these iconoclasts of
the XIXth century French school be-
come as classics in this environment.
In this country we remain as a rule
profoundly unaware of what is going on
in art in the Eastern side of Europe
and in consequence much that has ema-
nated thence comes as a pure revelation.
Fenyes Adolf is a name that is unfa-
miliar to English ears but that it should
not be so is evidenced by the force and
beauty of his “Snow-Covered Town,”
a work in which not alone the appear-
ance of winter is conveyed but the very
stillness of its waters, and the quiet,
muffled sound of it. Jacovleff is an-
other name that few of us have ever
met with, yet some twenty canvases
massed together in one of the rooms
testify amply to the fact that here is
a man of such originality of outlook and
mastery of technique that he should long
ago have received his meed of recog-
nition among us. His is a satiric vein;
his “Lady with Masks” holds up the
little emblems with a nice sense of their
utility in life as a means of varying its
aspect, while his “Marchand de Pier-
rots” is a cynical criticism of the reali-
ties of existence as contrasted with its
illusion. His power as a portraitist is
well exemplified in his portrait of the
painter Grigorieff, a piece of work that
makes a good deal of other portraiture
in the exhibition seem strangely super-
ficial in comparison. Nor do we know
as much as is seemly of Swiss painting.
I doubt indeed whether the majority of
the visitors at the private view had ever
as much as read of Ferdinand Hdédler,
yet his portraits and landscapes dominate
the room in which they are hung to the
exclusion of all else, so firm is his touch,
so rich his color.
Among the sculpture we are able to
hold our own, though it must be con-
fessed it is through a man who is not
an Englishman born, namely Jacob Ep-
stein. In his bust of the actress, Miss
Sybil Thorndyke, as well as in that of
his Indian model, Sunitra, he has given
us work that is of his best, avoiding that
tendency to the bizarre that at times
mars it, and relying on sheer sincerity to
carry it through. His technique gains in
directness, his characterization becomes
more penetrating. Other interesting
items among the sculpture take the form
of anima! groups by August Gaul, de-
lightful, simplified versions of bears and
other beasts treated with a humor that
is full of insight. Among the paintings
by British artists, one by Edmond Du-
lac of Eve in the Garden is specially
worth notice, since it shows a new de-
velopment in the career of an artist
whom we have formerly associated with
themes of the Orient. There is some-
thing of the old Flemish spirit in this
work, which has the naive simplicity
and genius for severe, dignified tones,
that we find in a medieval tapestry.
Another exhibition that is going to
open up new vistas for the Londoner is
that of twenty-five paintings by Mau-
rice Utrillo at the Lafévre Galleries in
King Street. This Frenchman with a
disconcertingly Italian name seems to
have hid his light under a surprisingly
deep bushel for a number of years, for
I understand that it was not until the
early part of this year that Paris herself
awoke to his importance. Possibly it
needs a one-man show such as this to
render apparent his true significance.
When one studies one after another
these amazing presentments of streets
and great solid renderings of walls and
shopfronts, one realizes the extraordinary
sensitiveness that is able to create a
thrill out of bricks and plaster and give
an absorbing interest to the most com-
monplace of thoroughfares. Not for
nothing has he already been labeled
“the painter of walls,” for he puts into
them the whole psychology of his sub-
urbs. He works with a restricted palette
and, I am told, uses as often as not, a
ground plaster to give greater actual-
ity to his stucco expanses. The force
of his themes is increased by his in-
stinct for eliminating the human ele-
ment. Not a figure, not a cart, de-
tracts from the innate interest of the
buildings, and it is a test of his style
that we are never conscious of a need for
it. Never has individuality in mortar
been so deliberately analyzed and ex-
pressed. If he succeeds less well in
treating the cathedrals of Chartres and
Notre Dame it is because these prob-
ably stand to him for less than his to-
bacco shops and small houses.
It is refreshing to visit an exhibition
of etchings where the preliminary weed-
ing-out has already been done for one.
This may be said of the show of etchings
and dry points by modern artists at the
(Continued on page 12)
Grand Central Terminal
Centennial
Grand Central Art Galleries
15 Vanderbilt Avenue
of the
NATIONAL ACADEMY OF DESIGN
December 1st — January 3rd
New York City
Exhibition
M. A. NEWHOUSE & SON, Inc.
484 North Kingshighway Boulevard
SAINT LOUIS
Chicago Studio, Suite 262 Auditorium Hotel
Distinguished Paintings
and Works of Art
AMERICAN and FOREIGN
CONTINUAL DISPLAY and SPECIAL EXHIBITIONS
The Art News
Saturday, November 28, 1925
esis
BY
“STAGE DESIGN AND COSTUME |
RALPH FLINT
James Reynolds Furnishes Forth
“The Last Night of Don Juan”
A FEW OF THE THOUSAND
ROSTAND’S “LAST NIGHT
GREENWICH
For the second bill of the season at
the Greenwich Village theater, Messrs. |
Jones, O'Neill and Macgowan
the last piece from the pen of Edmond
Rostand, “The Last Night of Don Juan.”
To strike the necessary note of high ro-
mance cal'ed for by this unusual play
these directors secured the services of the
very able and active James Reynolds—
temporarily relinquished from his mani-
fold labors in furnishing forth the many
productions of Charles Dillingham
elected |
and |
AND THREE PHANTOMS IN
OF DON JUAN” AT THE
VILLAGE THEATER
|he produced two stage settings of most
appropriate character. The play ran
for two weeks.
The prologue of the piece takes place
at the brink of Hell, with Don Juan con-
voyed by the stone image of his famous |
victim, the Commandante of Calatrava,
and here at the brink of the greenish
chasms does the hero of Rostand’s play
stop for respite and release. Mr. Rey-
no'ds has seen fit to box in his proscen-
ium arch with a florid bit of painted
curtaining and to order his stage for the
prologue with filmy hanging shot with
| the action may be but dimly seen.
|hind this ethereal arras he has ranged
a mass of jagged forms like the cleft
| material
| down
| night
: ak
gold and silver stars acting as the shin-
which
Be-
ing tissue of a dream through
flanks of some monstrous cavern, with
steps leading down among the sharp
shapes toward the vaporous regions be-
low. Above the apex of the rocky lip,
leading up into the darkness of the up-
per stage, a great twisted column, sump-
tuously gilded as in the manner of the
Italian Renaissance rises _ mysteriously,
and from its base the Commandante
holds his converse with Don Juan about
to enter the nether regions a! unabashed.
Effective as this scene was in reality, it
lost in a degree through inadequate light-
ing; either this or the gauzy curtains
were too impenetrable or too thickly
studded with stars. At any rate some-
thing of the intended effect was
| dimmed.
For the main part of the play, which
is set by the playright in a Venetian
palace on the last night of the extra
term of years allowed this bombastic
hero of so many ardent adventures, Mr.
Reynolds has given the stage a most in-
teresting investiture; half in the mood
of a great Venetian salle overlooking
the Grand Canal, and half in the man-
ner of a painted puppet show, with
fantastically proportioned wings and
curtains and oversized mirrors and doors,
this setting echoes the exact mood of
the tale. The last night of Don Juan is
being enacted here in this Venetian pal-
ace with the luxurious splendor of the
world all about, and yet set
with a sense of phantom loveli-
ness that gives an eerie, boding note to
the scene. Mr. Reynolds has painted his
set with a fine flourish, with a spurtive,
robust touch akin to the way the
flung forth his romantic phrases when
picturing the last stand of the renowned
roisterer.
fanciful interior are somewhat low in
key, somewhat spectral save where th:
accent of brightly painted gondola post
appears beyond the balcony against the
pe vet
The tones and colors of this |
sky, or the flashing tinsel booth |
of the puppet show cuts its sharp swath | ver mirrors with their frosty tracery of
of vibrant reds and greens. rococo scrolls and arabesques, the high
The costumes, designed by Millia Dav- | hung arching curtains of grey taffeta
enport, are well seen against this richly |that fall to either side of the great
somber background, the Genoese green | salon, the deep night beyond the fanci-
velvet suiting of the hero, and the white | ful fretwork of the open casement, all
livery of his faithful Sganarelle mak- | these take on a new significance as these
ing telling color points. Later, when|somber moths of the Devil’s conjuring
the action of the play has reached the |take up their fluttering vigil with the
point of forcing Don Juan’s hand for | unsuspecting victim.
the last time, the stage is sudden!y The decorative climax of the play
flooded with a host of lovely ladies at- |comes with the sudden apparition of the
tired in soft browns and grays, in| IWVhite Shadow, the one luminous, hope-
softly swishing bouffant costumes of the ful note in the deepening of Don Juan’s
Longhi period, their heads adorned with | eternal night. Here is great beauty
the smartly pointed black tricornes | brought upon the stage, and again the
craped with long lace veils, their eyes | whole scene takes on a new animation
masked with white masks, their hands|and_ significance. Upon the billowy
holding a single rose. Mr. Reynolds’ | whiteness of this last witness for the
setting suddenly comes into its own with | famous libertine the eye rests in grate-
the sudden filling of its depths by this | ful ease; her costume is like the others,
throng of masked specters; the tall sil- | of the same Longhi type but richer.
STANLEY LOGAN AS DON JUAN,
VIOLET KEMBLE COOPER
WHITE PHANTOM IN “THE LAST NIGHT OF DON
ROSTAND’S FINAL PLAY, AT THE: GREENWICH
VILLAGE THEATER
AS THE
JUAN,”
sO SD
nl a
ANNOUNCEMENT!
Is Made of the Arrival in This
Country of English, French,
Italian and Spanish 16th, 17th
and 18th Century Periods,
Hand-Carved Painting
Frames, in a Large Variety of
Sizes, Recently Collected by
Mr. M. Grieve.
M. GRIEVE CO.
234 East 59th St. New York City
Importers of
Genuine Antique Hand Carved Gilt
Wood Portrait Frames of all Periods
Telephones: Regent 3492-1984
Saturday, November 28, 1925
The Art News
il
IN THE WORLD OF ARCHITECTURE |
BY
RALPH FLINT
Russia’s
RS. Pl
tan
BB fi a oe = neler :
Genius in Architecture
mn wy re
od
Sli
DESIGN FOR A PRETENT
Russia has made generous yearly con-
tribution to the stage, the concert hall,
the opera, and the art galleries of Amer-
ica since her first invasion of the West-
ern World in 1908. It was then that the
famous production of “Boris Godou-
noff,” preceding the Diageleff ballet by
a year, came to Paris with chorus, prin-
cipals, scenery, dancers, orchestra, all in-
tact from Petrograd and Moscow, and
set the Parisian world of art and fash-
ion ina state of enthusiastic uproar over
the newly revealed beauties from the
great and hitherto little known land of the
Slav. But there has been little or none of
the Slavic influence felt in things archi-
tectural. Now that the United States is
bent on recolonizing certain milder cli-
mated parts of its great open spaces, and
the present furore for Spanish types of
houses will undoubtedly drop off after
a while, there is no reason to believe
that in our zeal for acquiring the best
there is to be had in all the various ver-
sions of the home-making problem, we
shall not one day touch upon the Rus-
sian sources for inspiration. At any
rate it interesting to consider the
problem of the villa—the town residence
is
IOUS COUNTRY RESIDENCE
Courtesy of the Rembrandt Galleries
becoming definitely American, although
there are gains along that desirable way
in many instances.
Early last spring at the Reinhardt
Galleries a most interesting exhibition
of monumental sculpture in relation to
architectural settings was held by the
distinguished Russian sculptor, Seraphin
Sudbinin, and his equally talented coun-
tryman and architect, Michael Doubin-
sky. This esthetic alliance had been pro-
ductive of a great number of projets
carried out in scale models of great in-
terest. Terraces, plazas, courts, pools,
pavilions, garden allées, parterres, foun-
tains, etc., were shown with the orna-
mental figures and decorations in delight-
ful miniature. Mr. Sudbinin’s sculpture
has been known to New York for some
time, has been seen and greatly admired.
Doubinsky was born at Vilna, Russia,
and is a graduate of the Imperial Acad-
emy of Fine Arts in Petrograd and a
member of the Imperial Society of Ar-
chitects in Petrograd. Among the many
and varied structures that bear his stamp
are the Museum of Agriculture, the Pal-
ace of Arts, the Pantheon of Peter the
Great and Museum of the Foundation, al.
es
Now Adds to Her Art
By MICHEL DOUBINSKY
Voronege; etc. Many palatial hotels
set in the midst of extensive terraces
and parks have been erected from Dou-
binsky’s designs, one in particular being
located on the shores of the Black Sea.
Perhaps the most notable of his archi-
DESIGN FOR
is becoming but two or three months
pied-d-terre with the country house tak- | laterinburg ;
A COUNTRY VILLA
Courtesy of the Rembrandt Galleries
in Petrograd; a girls’ college in Ek-
an Armenian theater in
ing new precedence in social favor—from |the Caucasus; a synagogue in Khar-
as many angles as possible, for our own
koff; a market in Stavropol; a bank in
architectural solutions are still far from | Odessa; a church in Kashine; a club in
By MICHEL DOUBINSKY
tectural accomplishments is the Imperial
Nicho'as Naval Academy in Petrograd.
He has also done important work in
arranging the interiors of many palaces
and mansions of the Russian Imperial
family, particularly the palace of the
DESIGN FOR A COUNTRY HOUSE
; Courtesy of the Rembrandt Galleries
By MICHEL DOUBINSKY
DESIGN FOR A COUNTRY VILLA
Grand Duchess Olga, sister of the late
Czar Nicholas. He is the recipient of
more than forty architectural prizes for
meritorious designs of one sort or an-
other.
In Doubinsky’s work there is found a
broad simplicity that is excessively rare
in any form of architectural design. It
is somewhat severe, almost geometrically
conceived. It is a matter of elemental
proportions, finely adjusted spatial re-
lations, and well-contrasted planes, all
linked together with a fine linear move-
inent. With all this seemingly modern
treatment of surfaces and areas there
is withal a distinctly classic note run-
ning through Doubinsky’s designs that
keeps the whole matter on a ba'anced
keel. Observe in the drawings repro-
duced here how completely of a piece
each concept appears to be, how struc-
turally satisfying, how eminently prac-
ticable. Even in his more elaborate
treatment of a small summer palace, he
has kept well within the bounds of rea-
sonable reserve and formality, yet has
kept a cheerful, livable look to the
structure throughout. His designs for
‘Courtesy of the Rembrandt Galleries
_
smaller villas are easily adaptable to
the hills about Hollywood or to the
tawny reaches of the Florida coasts.
Something of the impersonal note is
struck in Doubinsky’s work that should
give it a peculiar appeal to an eclectic
age and people. In connection with
| Sudbinin he is working out some plans
for American country places that should
prove most interesting. In his use of
garden foliage and sculptural ornament
'he should find plentiful opportunity in
|this growing country to assist in its
| beautification.
_A Model Wants $60,000 Because a
| Painting of Her Figure Was Shown
Willy Pogany, Hungarian-American
painter who sued David Belasco a year
or more ago for $200,000 alleging that
he was libeled in a play is now the de-
fendant in a legal action for $60,000.
Miss Violet Rambeau; a model, seeks
damages to that amount for a painting
now hanging in the Knickerbocker Grill,
the proprietors of which are made co-
defendants.
The plaintiff objects to the public dis-
play of the representation of her figure.
| She says that when she agreed to pose,
|the artist promised never to sell the
|picture. Mr. Pogany asserts that it
By MICHEL DOUBINSKY
° : A
would take a better artist than he to
determine what part of the figure was
Miss Rambeau’s and which belonged to
some of the other models who posed
for the picture.
PAINTINGS
TAPESTRIES
PARIS
DUVEEN BROTHERS
PORCELAINS
OBJETS d’Art
NEW YORK
Jac Friedenberg Chas, Friedenberg
HUDSON
Forwarding & Shipping Co.
17-19 State St., New York City
Paintings and Antiques
Furniture, household effects and all
works of art efficiently transported
to. and from all parts of the world.
All Customs Clearance Quickly
Consummated
Have Excellent Warehouse and
Unpacking Facilities
Cable Address
“Jacberg”
Bowli “go
een
10380 N. ¥.
W.Schnackenberg
PRIMITIVES
WORKS OF ART
OLD MASTERS
MUNICH
Georgenstrasse 7
i
i
PY
4
3] 4
i
iy
if
By
im 8)
.
]
-
| i
ht }
i
12
The Art News
Saturday, November 28, 1925
(Continued from page 9)
Rembrandt Gallery, 5 Vigo St, W. The
very first on the walls is the superb
“C'est Fini” of Forain, the fifth plate
that the artist made of the theme, and
a masterpiece of dramatic composition.
It is illuminating to find it near the same
artist's ‘Calvaire,” “Piéta,” and “Le
Christ depouillé de ses Vetements,” in
which he Las seized the innate spirit of
his theme just as unerringly as he has
grasped the essentials of the modern and
rhaps a trifle sordid drama of the part-
ing of the lovers in the first-mentioned
rint. A third state of Méryon’s “La
erie Notre Dame” illustrates this
master’s talent for conveying in his ar-
chitectural studies the play of strong
sunlight on the uld stone, and four ex-
amples of the ari of F. L. Griggs dem-
onstrate his ability to invest his village
scenes with a quict emotion that seems
more completely expressed in the black-
and-white medium than it could ever be
in terms of colors. And as usual, we
miss color not at all in the etchings of
D. Y. Cameron, who in his depth of
tone and richness of shadows knows how
to suggest all that is necessary in order
to give full effect to his compositions.
A tre etching of Amiens Cathedral
drawn with a surrounding crowd at the
time when riots were afoot, is interest-
ing in its contrast of human emotion
with the placid dignity of the archi-
tecture. Itogether a very suggestive
and interesting collection of . ‘
DETROIT
Robert C. Vose of Boston, the pres-
ent executive of America’s oldest art
firm, exhibited an important group of
intings from the Vose Galleries at
otel Statler for two weeks. A large
number of masters, both old and modern,
were included in this exhibition.
A small but fine collection of old
masters was shown at the Book-Cadil-
lac Hotel by Paul and Rudolph Botten-
scene, who came to Detroit from Ber-
in.
Among fine canvases in the collection
are a fine “Head of a Man,” by Van
Dyck, several Italian primitives, a Ru-
bens and a Lucas Cranach. Among
the Italian primitives is a beautiful ex-
ample of the work of Mariotto di Nar-
do, a Florentine painter, one of whose
canvases has recently been acquired by
the Detroit Institute of Arts. ;
The Institute has acquired two paint-
ings showing different phases of the
work of Odilon Redon, one of the most
pronounced innovators of the last half
century just past, and these have been
hung in the gallery of XIXth century
French art.
The Institute has also acquired by
purchase an important marble relief of
a “Madonna and Child,” the work of
Bartolommeo Bellano, a north Italian
sculptor and one of the close pupils
and followers of Donatello.
Twenty-eight painters and three sculp-
tors are represented in the annual display
of the Detroit Society of Women Paint-
ers, held at the home of the Detroit Fed-
cration of Women’s Clubs. The society
was organized some twenty years ago
by Mrs. Lillian B. Meeser, now residing
at Chester, Pa. Among those represent-
ed are Iris Andrews Miller, Mildred E.
Williams, Jane C. Stanley, Della Garret-
sen, Lily Garretson, Helen E. Keep, Es-
ther L. McGraw, Mary Hamilton, Alice
H. Thurber and Grace Hopkins.
Marco Zim is holding a one man show
of paintings, sculpture and etchings at
the studio of Mrs. David Werbe, 2033
Woodward Ave., Nov. 18-Dec. 16. Mrs.
David Werbe is chairman of the art
committee directing the show under the
auspices of the United Jewish Charities
of Detroit. This is the first of a series
of one man art shows to be held during
the season, to wind up with a big ex-
hibit of all Jewish artists in the spring.
One of the important art events of
the season is the exhibition at the
Hanna-Thompson Galleries of the work
of Valentin and Ramon Zubiaurre.
Allied Artist of America
INCORPORATED
13th Annual Exhibition
Paintings and Sculpture
Saturday, November 28th, to
Sunday, December 13th, incl.
Open Daily 10 to 6 — Sunday 1 to 5
FINE ARTS BUILDING
215 West 5ith Street NEW YORK
CHICAGO
The opening tea of the exhibition of
portraits by Violet Beatrice Wenner
was well attended by members of
Chicago society who were keen to see
the completed portrait of Harold Mc-
Cormick. The Dunbar Galleries an-
nounce that on account of the interest
manifested in the Baroness Wenner’s
work the exhibition will be continued a
week longer than had been scheduled.
The portraits that impressed me as be-
ing of the most interesting in the show
were those of Joseph P. Day and the
late Edward Lauterbach of New York.
While there were many more decora-
tive things in the exhibition, these were
the strongest with the possible excep-
tion of the study in oil of an old man.
It seems strange that a creature so lit-
te, charming and feminine as the bar-
oness should find it easier to paint men
than either women or children but it is
apparent that she paints them with
greater ease if not with greater sym-
pathy. Another outstanding portrait is
the one of Maria Jeritza as Thais done
in pastels. The most imposing femin-
ine portrait in the exhibition is “La
Marchesa Baldi” of Rome. The sub-
ject is very beautiful in a classic way
and the baroness has painted her simply
with a classic filet in her black hair
and a diaphanous drapery of white about
her exquisite shoulders.
All the portraits in the exhibition
were painted for homes not for galleries
and some of them consequently do not
show to advantage even though the Dun-
bar Galleries are of the itime sort.
Owing to illness in her family the baron-
ess was not able to be present at the as-
sembling of the paintings and therefore
many that she would have liked to show
in Chicago were unavailable. The little
pastel of Joan McClellan of New York
is easily the portrait of all in the show
Vernay
Old English Furniture
Old English Pottery
Old English Glass
Old English Silver
Old English Pewter
Original Examples
New York, 10, 12 E. 45th Street
London, W. 217 Piccadilly
that was a “psychological picture.” In
it is caught that seriousness of child-
hood which is so akin to tragedy.
Robert B. Harshe, director of the Art
Institute, attended the recent meeting
of the American Association of Mu-
seums in New York City. On his re-
turn trip he stopped at Buffalo and de-
livered a lecture on “The Place of
George Inness among XIXth Century
Artists,” at the Albright Art Gallery.
Beginning Saturday, Dec. 12, the
Studio Group of the dramatic depart-
ment of the Art Institute will present a
special Saturday matinee for children.
he play will be “The Golden Apple”
and it will be given in the new Good-
man Theater.
John C. Johansen’s painting “Evening
Hour,” in the current exhibition at the
Art Institute, has been purchased by
the Friends of American Art for the
permanent collection of the Institute, in
the art school of which Johansen was
formerly a pupil.
The Arts Club has on exhibition this
week a fine collection of Georgian sil-
ver and old Sheffield plate known as the
Brainerd Lemon collection of Louisville,
Ky. A collection of miniatures by F.
Enid Stoddard is also to be seen at the
Arts Club.
French color prints on display at the
Art Institute were acquired through the
generosity of Robert Allerton, Mrs. C.
H. Chappell, Miss Clara C. Gilbert,
Mrs. Charles Netcher, Mrs. Potter
Palmer, Martin A. Ryerson, the Print
and Drawing Club, and the Municipal
Art Club. The prints are the work of
XVIIIth century artists.
—Inez Cunningham.
LOS ANGELES
The Pan-American Exhibition of
Paintings, scheduled to open at the Los
Angeles Museum on Novy. 3, was post-
poned until Nov. 27, owing to the delay
in the completion of the new building in
which a large portion of the exhibition is
to be housed. This delay could not be
foreseen last spring when the date for
the opening was set, but no announce-
ments of the postponement were sent to
Eastern publications in time to prevent
erroneous reports of its opening at the
earlier date. The paintings will remain
on exhibition until Jan. 31 instead of
Jan. 1, as originally planned.
A unique art gallery has been estab-
lished on a hilltop near Los Angeles by
William Murrell and Theodore Fair-
banks Stone, both formerly of the Wood-
stock colony. It is to be known as “The
Stone International Galleries,” Monrovia,
Cal. Only the work of living artists
will be offered, the policy being contemp-
orary, modernistic, international in spir-
it. The idea of the founders is to appeal
to the connoisseur and collector rather
than to the casual buyer; a serious but by
no means solemn desire to aid the West-
ern art lover to become “as proud of his
own judgment as he is of his collection.”
The exhibitors for the opening month
are Edward J. Ballantine, Charles Bate-
man, Henry Billings, Arnold Blanche,
Lucille Blanche, Julius Bloch, Nicholas
Briganti, Margaret Chaplin, Ernest Fi-
ene, George H. Fisher, Harry Gottlieb,
Vernon Hunter, Neil Ives, Georgina Klit-
gaard, Henry Mattson, Henry Lee Mon-
More, Paul Rohland,
Charles Rosen, Madeline Schiff, Jean
Paul Slusser, Judson Smith, Caroline
Speare, Rudolph Wetterau, Warren
Wheelock, Arnold Wiltz, E. Winslow, S.
Macdonald Wright. Sculpture by Paul
Fiene, Harold Swartz, Warren Wheelock
and George Stan'ey is also shown.
Gordon Coutts, now exhibiting at the
Stendahl Galleries, will remain in Los
Angeles for some time. He is writing a
book on his adventures as an artist in
many countries.
The Biltmore salon is showing etchings
by Ernest Haskell and bronzes by Charles
M. Russell and Arthur Putnam.
Exhibitors at the Pasadena Art Insti-
tute for November are Herbert Van
Blarcom Acker, Carl Moon, Eva Mc-
Bride, Frederick Zimmerman, Jean
Mannheim, Frances Clark, Franz Bis-
choff, Benjamin Brown, Orrin White, F.
Carl Smith and Antoinette De Forest
Merwin, all Pasadena painters. One gal-
lery is devoted to the pictures of H. B.
Wagoner, one to portrait sculpture by
Maud Daggett, others to landscapes by
Hanson Puthuff, marines by George S.
Coleman, and paintings and etchings by
John Cotton.
Pictures by Marion Kavanagh Wach-
tel, Elmer Wachtel and Ralph Davidson
Miller are shown at the Kanst Gallery,
Hollywoodland.
Orrin White exhibits his Mexican pic-
tures at the Southby Gallery.
Color prints by Elizabeth Keith are on
view at the Cannell and Chaffin Galleries.
Ulianoff, a Russian artist from the
Moscow Academy of Fine Arts, is show-
ing decorative paintings and stage sets at
the Hollywood Library.
hoff, Hermon
P. JACKSON HIGGS
Works of Art
11 East 54th St., New York
PAINTINGS, BRONZES, ROMAN
AND GREEK EXCAVATIONS, TAP-
ESTRIES, CHINESE PORCELAIN,
RARE RUGS, OBJETS d’ART.
Exhibition of Paintings
“Sun and Snow” by
WM. S. HORTON
December ist to 15th
AINSLIE GALLERIES
677 Fifth Avenue
ae ome ae
— ————
Messrs.
PRICE & RUSSELL
AMERICAN PAINTINGS
TAPESTRIES and
WORKS OF ART
FERARGIL
87 East Sith St., New York
Louis Ralston
& Son
18th Century English Por-
traits; Barbizon Paintings
and Modern American
730 FIFTH AVENUE
. NEW YORK
MAX WILLIAMS |
Prints - Paintings - Models
MARINE RELICS
of the
Old American Frigate
Clipper Ship and Whaler
538 Madison Avenue New York
F, KLEINBERGER
GALLERIES
Inc.
725 Fifth Avenue
NEW YORK
9 Rue de I|’Echelle
PARIS
Or
ANCIENT PAINTINGS
SPECIALTY PRIMITIVES
of all Schools
and
OLD DUTCH MASTERS
| C. W. KRAUSHAAR
ART GALLERIES
680 Fifth Ave. New York
£
PAINTINGS - ETCHINGS
and BRONZES
BY MODERN MASTERS
of ‘
| American and European Art
Established 1875 Phone Bryant 6739
Calo Art Galleries
PAINTINGS
Fine American and Foreign
Bought and Sold
128 West 49th Street
D. CALO & SONS NEW YORK
N.E. MONTROSS
Memorial Exhibition of
PAINTINGS
by the late
William Sartain, wn. a.
October 27th to November 16th
26 EAST 56th ST.. NEW YORK
WORKS
FRENCH & COMPANY
OF ART
6 EAST 56TH STREET, NEW YORK
ANTIQUE TAPESTRIES VELVETS
EMBROIDERIES FURNITURE
SPAM
es EI
=B: eS
| JOHN LEVY |
; GALLERIES
: PAINTINGS :
= =
2 =
= NEW YORK PARIS
= 559 Fifth Avenue 28 Place Vendome
=
HOUR AT
NEW YORK
REINHARDT GALLERIES
730 FIFTH AVENUE
PARIS
11 Bis Rue Boissy D’Anglas
Paintings --
- Art Objects
FRANKFORT
Kaiserstrasse 15
GOLDSCHMIDT GALLERIES
730 FIFTH AVENUE
Victoriastrasse 35
—j| t
Saturday, November 28, 1925
The Art News
13
BOSTON
Pastels of flowers by Laura Coombs
Hills are being shown at the Copley
Gallery. This artist, one of the fore-
most miniaturists in the United States,
attains to an uncommon delicacy of color
and lightness of composition in her flow-
er pictures. Water colors by Charles
Curtis Allen are also at this gallery, as
well as a portrait by Copley of John
Hancock, first governor of Massachu-
setts. This portrait has been continu-
ously in the possession of the Hancock
family since it was painted in 1777 by
Copley for £9.16.
Frederick W. Coburn, a member of
the State Art Commission, lectured on
“The Artistic Puritans” on Nov. 23 be-
fore the members of the Brookline Wo-
men’s Club. In the course of a dis-
course that brought out much original
research on Mr. Coburn’s part, he said
that William Read (1607-1679) painted
the earliest known portrait to be made
in the English-speaking colonies, the
subject being the colonial governor of
the Massachusetts Bay Colony, Richard
Bellingham.
Illustrations by Francis D. Bedford,
an English artist, are on view at the
Bookshop for Boys and Girls. Begin-
ning Dec. 8 the work of another English
illustrator, Warwick Goble, will be
shown.
Among the recent distinguished visi-
tors to Boston was Lord Rothermere,
publisher and brother of the late Lord
Northcliffe, who came expressly to see
the new Sargent murals at the Museum
of Fine Arts. Lord Rothermere was a
great admirer of the late artist, and
regards him as the greatest painter of the
last fifty years. He possesses eighteen
of Sargent’s works. William H.
Holmes, director of the National Gal-
lery of Art at Washington, was an-
other visitor. In fact prominent artists,
connoisseurs and critics from many dif-
ferent cities are known to be heading
toward Boston to see these last works
of Sargent.
Invitations are being sent out for a
series of five subscription concerts to be
given at the Museum of Fine Arts by
noted musical artists by a committee of
Boston society women, headed by Mrs.
J. Templeton Coolidge. The series is
for the purpose of raising money for the
endowment fund of the Department of
Western Art of the Museum, a new wing
for which is now being erected. Mrs.
Louise Home, the prima donna contralto
of the Metropolitan Opera Company,
will head the series, on Dec. 11.
Governor and Mrs. Alvin T. Fuller at-
tended the private exhibition of French,
Italian and Spanish art objects at the
North Bennet Street Industrial School.
These objects were collected during the
past summer in Europe by George C-.
Greener, director of the school. P. A.
de Laszlo, the English portrait painter,
who is executing several commissions in
Boston, was among those present.
Viadimir Pavlowsky is showing water
colors at Doll & Richards’ Gallery.
—E. C. Sherburne.
¥ MADISON AVENUE-AT~572 ST REET
Now On Exhibition
7
XV-XVII Century
RUGS»:
EVENTY-THREE Collectors’
Rugs & Carpets—Repre-
senting Specimens from
Churches and Palaces in’
Portugal, Spain €¥ Italy and
from Private Collections in
America. The Private Col-
lection of Messrs.
V.& L.
BENGUIAT
CATALOGUE ~ TEN DOLLARS
ORDINARY EDITION ~ ONE DOLLAR
7 7 7
eale + Dec. 4 and 5
me p.m.
CLEVELAND
Cleveland and its environs figure in
several of the pictures in the annual fall
exhibition of the Kokoon Arts Club. A
sober canvas depicts the Polish church
on the flats as F. Rentschler saw it
against a stormy summer sky; “The
Cuyahoga,” by A. E. Hudson. Other
striking works are “Hillard Bridge,” by
George Rettig; August Biehle’s “Scow”
and “Rocky River,” and pose
Brecksville Valley”; “On the Ohio,”
A. Leysens; “Oaks” in scarlet, by rd
Tigner ; “House Tops” by H. G. Keller;
“The Field,” by Elmer Brubeck, and
“The Market” by Morris Grossman.
Rolf Stoll’s “Girl With Apples and
a Jug,’ is one of the strongest can-
vases. Portraits by Robert Konersman,
A. Leysens and William Sommer; a
nude by L. Harl Copeland, “Sewing,”
by Brubeck, and Ray Egert’s “Ballet
Girl Resting” are other figure works.
Edwin Sommer shows several of his
whimsical water colors, illustrating a
Japanesq fairy tale and other stories.
A linoleum block .print of tulips by
Philip Kaplan is one of the good decora-
tive pieces and his “Spirit of the Dance,”
also in linoleum cut, is another.
John Anderson, president of the club,
is represented by a large, smiling land-
scape, “Sunny Valley,’ another valley
view, one of “Rolling Hills,” a still life,
“By The Staircase,” and a vigorous
study of trees. Joseph Jicha, Ignace
Walesek, Murray Bliss Butler, O. F.
Liebner, H. Peebles and James Butler,
show landscapes and still-life arrange-
ments. The display is vigorous in tone
and in quality, well versified.
TORONTO
The Society of Canadian Painter-
Etchers is holding a large exhibit of
drypoint etchings, wood blocks, aqua-
tints, etc., in the gallery on King Street
in connection with the Don Quixote
book shop. Dorothy Stevens has good
and vigorous drypoint etchings of old
historical places in Porto Rico; Fred
Haines, harmonious aquatints; W. J.
Phillips, colored wood blocks; F. W.
Jopling, Owen Staples, W. P. Lawson,
London, England; M. P. MacDonald,
Harold Pearl, W. R. Stark, Frank Hal-
liday, Stanley Harrot, L. A. C. Panton
and W. W. Alexander are other exhibi-
tors.
At the Haynes Galleries a very large
exhibit of oils and water colors from
J. A. Cooling and Sons, New Bond
Street, London, is being shown. Some
of the best of the old English water
colorists are represented.
Special Exhibition
ANCIENT
| NEAR EASTERN ART
| KOUCHAKJI FRERES
INC,
707 Fifth Avenue, New York
November 30 to December 19
WASHINGTON
On Dec. 6 there will be open in the
National Gallery of Art an exhibit ar-
ranged by the Washington Loan Exhibi-
tion Committee, consisting of early
American paintings, miniatures, and sil-
ver. The oil paintings have been gath-
ered chiefly from this city, while the
silver and miniatures have come from
y| Baltimore, Philadelphia, New York,
Boston, and other cities. Mrs. William
C. Eustis is chairman of the committee,
while the three sub-committees are head-
ed as follows: painting, Miss Leila
Mechlin; miniatures, Miss Helen Amory
Ernst; silver, Major Gist Blair. On the
last-named committee are also found the
names of Ho!lis French and R. T.
Haines Halsey.
The Freer Gallery has recently re-
arranged two of its galleries in which
had been displayed the paintings of
Dewing, Tryon, Thayer and others.
These galleries now contain etchings and
lithographs by Whistler drawn from
the Gallery’s reserve collection.
Eben F. Comins, portrait painter, has
reopened his studio in Washington for
a short time, but will leave within a few
days for Los Angeles to paint a por-
trait. ;
A group of over seventy photographic
prints known as bromoil transfers will
be on display at the United States Na-
tional Museum through December and
January. These are by the Viennese
photographer, Dr. Emil Mayer.
Two additions to its permanent col-
lection of sculpture have just been made
by the Corcoran Gallery. Both of these
are works in bronze: a turkey, by John
Singer Sargent and a head of J. Alden
Weir, by Olin L. Warner. Sargent’s
turkey is one of only three pieces of
sculpture he is known to have done, and
has just arrived from the Sargent sale,
in London. —Ralph C. Smith.
HARTFORD
The Arts and Crafts Club’s exhibition
at the establishment of the Brown-
Thomson Co. consisted of representa-
tive work in various branches. Paintings
were shown by Frances H. Storrs,
Anna J. Fagan, W. Bradford Green,
Jessie Goodwin Preston, M. B. English,
Carl Ringius, Dorothy Hapgood, Cor-
nelius C. Vetter and Helen en
The Group of Six of Boston shows
water colors at the Women’s Town and
Country Club.
Wilson Irvine exhibits fifty oils at
the Annex Gallery of the Wadsworth
Atheneum representing views of New
England, England and Britanny. The
exhibit is one of the best ever held in
this gallery. Such pictures as “Linger-
ing Snow,” “Vonnoh’s House” and “Cor-
nish Coast” are outstanding.
Christine Bacheler’s exhibit at the An-
nex Gallery comprised a large collection
of paintings and drawings, the fruits of
a year’s stay in France and Italy. The
decorative canvases speak particularly
well of the youthful artist.
Nunzio Vayana has returned from
Ogunquit, where he painted and main-
tained an art center during the season.
. M. Vose of Boston shows a rep-
resentative collection of paintings in the
Wiley Gallery, eighteen artists being
represented.
Mrs. Marion Woodbridge held an
exhibition and talked on block printing
in the Atheneum Annex, under the aus-
pices of the Arts and Crafts Club.
—Carl Ringius.
NEW ORLEANS
At the Artg and Crafts Club for two
weeks an exhibition was held of two
local artists. Alberta Kinsey, whose oil
studies of Frenchtown have attracted
wide attention and William Spratling,
whose pen sketches of Louisiana archi-
tecture have won him fame, were the
exhibitors.
BALTIMORE
Among the exhibits of the Architec-
tural Exhibition which opened at the
Baltimore Museum with a private view
and reception on the night of Nov. 18,
is a group of prints from the Rowley
Gallery, London. These are after work
by a number of the prominent British
architects. A number of beautiful pho-
tographs of the Baltimore war memo-
rial designed by Laurence Hall Fowler
occupies the center of the east wall of
the main gallery while the central po-
sition on the west wall is held by the
Buckler and Fenhagen designs for the
new City College now in course of
erection on Gorsuch Ave. Batik hang-
ings by Arthur Crisp fill the entire west
wall.
Other exhibits include the plan of
the Los Angeles Museum of History,
Science and Art by the Allied Archi-
tects Association of Los Angeles; a
study for a thirty-five story building
and the restoration for the Great Pyra-
mid at Tykal by Alfred C. Bossom;
the National Academy of Science in
Washington, the war memorial in Pitts-
burgh, and designs for the Nebraska
Capitol by Bertram G, Goodhue; the
George Washington Masonic national
memorial of Alexandria by Helmle and
Corbett; Grant Park Stadium by Hola-
bird and Roche; the Harvard Business
School and other buildings by McKim,
Mead and White; the Worcester Art
Museum by John H. Scarff.
The exhibition also affords an oppor-
tunity for studying fine work in stained
glass and in mural design. Miss Hil-
dreth Meiere shows a cartoon in color
of one of her drawings for the Ne-
braska State Capitol and several other
drawings. A special feature of the
opening was a lecture on “Architecture
of the Future” by Harvey Wiley Cor-
bett, former president of the Architec-
tural League of New York. The ex-
hibition will continue for about five
JULIUS BOHLER MUNICH
Briennerstrasse 12, Munich, Germany. Cable address: Antiquitaeten Munich
THE LUCERNE FINE ART CO.
Alpenstrasse 4, Lucerne, Switzerland. Cable address: Rembrandt Lucerne
weeks.
Frank K. M. Rehn
SPECIALIST IN
American Paintings
693 Fifth Ave. #8, 5¢4 ©
NEW YORK
Antique and Art
Ceramic Products
Restored and Repaired
by
MRS. F. J. M. KOENIG
Ceramiste
Box 276, Carpentersville, Illinois
Early Chinese Art
IMPORTANT EXAMPLES OF
Old Chinese Porcelain
Early Chinese Sculptures and Pottery
Rare Persian Faience
IN THE GALLERIES OF
Parish-Watson & Co., Inc.
New York
44 East 57th Street
JOSEPH BRUMMER
Classical, Oriental, Mediaeval
WORKS OF ART
27 East Fifty-seventh St., New York
203 bis Bd. St. Germain, Paris
MULLER ART GALLERY
WE BUY:
PAINTINGS, BRONZES
BOOKS AND AUTOGRAPHS
46 West 49th St., New York City
Telephone: Bryant 4745
Picture, Studio and
Gallery Lighting
The Frink Engineering Depart-
ment makes a special study of
lighting pictures—individually or
in groups. Its services are at
your disposal.
I. P. FRINK, Inc.
24th St. & 10th Ave., New York
Branches in Principal Cities
ie
Ehrich Galleries
707 Fifth Ave., New York
at 55th Street
PAINTINGS
by Old Masters
PAINTINGS
of
DISTINCTION
—o—
American and
Foreign
45 WEST TH STREET
wew4-4 york
Wildenstein&Co.
HIGH CLASS
OLD PAINTINGS
TAPESTRIES
WORKS OF ART
Eighteenth Century
FURNITURE
647 Fifth Avenue New York
Paris: 57 Rue La Boetie
Kennedy C& Co.
Etchings by
Old and Modern Masters |
Old English
Sporting Prints
Marine Subjects
3 Fifth Ave., New bbeid
le
StudioF ounded 1840—in NewYork since 1907
senses OF PAINTINGS
. J, ROUGERON
101 Park yk -- New York
LAZA Ant pucnon
EDWARD P. O'REILLY, Auctioneer
5, 7and 9 East S9th Street NewYork
JUST OFF FIFTH AVENUE
Best location in New York for
the sale of art works by auction
W E solicit the dispersal of col-
lections or individual art works
from owners and estates any-
where. New York is the ART
CENTRE OF THE WORLD
and our facilities are unsurpassed.
If you are in the market for art or
artistic furnishings we invite you
to call at our galleries or send your
name for our catalogues.
We give special attention
to APPRAISALS for
owners and estates
te ar CN
achat Si
Pg ieee ant
The Art News
Saturday, November 28, 1925
PHILADELPHIA
Announcements have gone out that the
Pennsylvania Academy of the Fine Arts
will hold its 121st annual exhibition from
Jan. 31 to Mar 21, 1926, All works
must be received by the Academy not
later than Jan. 11. Exhibitors are ad-
vised “to enter a low but fixed price.’
A new prize has been offered, the James
E. McClees gold medal, which is to be
awarded to the most meritorious com-
position in sculpture by an American
citizen, age not limited, and shown in
the annual exhibition. The work must
be a group of not less than two figures,
or animals, or a combination of both, of
not less than one-third life size, prefer-
ence to be given to original, imaginative
conception over that of reminiscent
work.”
The jury of selection and hanging
committee are as follows: Painting:
W. Elmer Schofield, chairman; Yarnall
Abbott, Gifford Beal, John Carroll, John
Cc, Johansen, Daniel Garber, Howard
Giles, A. Martin Hennings, Rockwell
Kent, Roy C. Nuse, Morris Hall Pan-
coast. Sculpture: Charles Grafly, John
Gregory, Edward McCartan. The hang-
ing committee consists of the president
of the Academy ex-officio, Schofield,
Garber, Grafly, and Nuse. ‘Clement B.
Newbold is chairman of the Academy's
committee on exhibition.
The exhibition of small oil paintings at
the Plastic Club until Dec. 9 has more
sprightly interest than usual. Many of
the exhibitors spent last summer in
Europe and the experience was stimulat-
ing. The first prize was awarded to
“On the Damariscotta, Maine,” by Mary
Anna Stevenson, and the second prize to
“Down the Ravello” by Margaret J. Mar-
shall. Paulette van Roekens shows two
bathing scenes; Arrah Lee Gaul, a cold
sunset “Boothbay Harbor,” and Johanne
M. Boericke, “Lonely Trail.” But most
of the sketches are devoted to Europe
and especially to panoramas of Italy and
the Mediterranean. One portrait sketch
is by Muriel Germard. Among the ex-
hibitors are Isabel Branson Cartwright,
Isabel Hickey, Blanche Dillaye, Minnie
Miller, Cora Brooks, Mary Butler, Kath-
erine Farrell, Wuanita Smith, Ethel War-
wick, Susan Schneider, Margaret Mar-
shall, Mary Stokes, Fern Coppedge,
Mary Townsend Mason, Anne Speak-
man, Helen Reed Whitney, Elizabeth
Wherry, Edith McMurtrie, Susette
Keast, Pear] van Sciver, Cora Miller,
Mary “McCiellan and Rose Pent. There
are eighty-six exhibits and the jury is
composed of Ada Williamson, Susette
Keast, Mary T. Mason, Minnie Miller,
S. Gertrude Schell, Ethel Warwick, and
Elizabeth F. Washington.
There is an Old Timers’ exhibition at
the Sketch Club which shows us the
way many of our artists used to work
years ago. There are pen-and-inks by
Herbert Pullinger, Edward Warwick and
E. H. Suydam, oils by Yarnall Abbott,
Paul Martel and Frank Whiteside, water
colors by Wilmer Richter, which prove
he has gone a long way in his develop-
ment; old favorites like Fred Wagner,
Frank Copeland, and Frank Taylor and
M. Zimmerman. An_ interesting
idea, bravely carried out.
Wuanita Smith is holding a studio ex-
ART SCHOOLS
Grand Central School of Art
IN NEW YORK CITY
ANNOUNCES THE
SEASON 1925-26
Beginning
OCTOBER 5rtu
INSTRUCTORS:
MASON DUNN SNELL
ENNIS SsKOU
BEACH COSTIGAN GREACEN WILLIAMS
Painting, Drawing, Sculpture, Illustra-
tion, Advertising Art
For catalog address Secretary
GRAND CENTRAL SCHOOL OF ART
Grand Central Terminal, New York City
ADAMS CARTER
BROWNE MEYER LOBER
hibition until the end of the year of a
series of pastels and small oils executed
at Nantucket.
Joseph Clement shows illustrations at
La France Art Institute in Frankfort.
Albert Laessle has just completed a
death mask of the late Theodore Presser,
music publisher.
An —- of commercial art
opened Nov. 23 in the print room of
the Pennsylvania Museum.
The water color exhibition at the
Pennsylvania Academy of the Fine Arts
is the most successful of recent years
from the point of view of sales. Twenty
sales were made the first week, including
works by Henry Pitz, Herbert Pullinger,
Fred Wagner, Charles H. Woodbury,
John Taylor Arms, Ernest D. Roth,
Wilmer S. Richter, Hugh Breckenridge,
John J. Dull, Florence Esté, and Eliza.
beth Forbes Dallam.
The twenty-fourth exhibition of mini-
atures surpasses that of last year in in-
terest and five have already been sold.
The medal of honor was awarded Annie
Hurlburt Jackson for “Rose and Silver,”
a portrait in full length of Miss Eleanor
Mason. Among the four miniatures by
A. Margaretta Archambault is one of
President Coolidge. An exquisite little
landscape, “The Pyramid” by Nicolas
S. MacSoud, was sold. Among many
lovely portraits of women and children
are found the charming nude water baby
in “Lilies” by Gertrude L. Little, “Nude”
by Charlotte Burt Kirkham, and the fig-
ure study “Tiger Lilies” by Pamela
Vinton-Brown. Among several still lifes
is the tiny but beautiful decoration “The
Water Lily” by Mary R. Henwood. A
masculine note not usually associated
with miniatures is the group by Clif-
ford Addams. Delightful landscapes of
Italy are exhibited by Berta Carers,
Elizabeth F. Washington, the talented
and versatile artist now exhibiting large
oils at the Art Club, is represented by a
group of portraits here. Among other
exhibitors are Jeanne Payne eres
Margaret Foote Hawley, Ellen W.
rens, Grace Murray, Evelyn Purdie.
Edith Sawyer, Emily Drayton Taylor,
Mary Bonsall, Marian Darragh and
Gladys Brannigan.
There is a fatal similarity among the
paintings in the ninth annual exhibition
of the work done at Chester Springs,
the summer school of the Pennsylvania
Academy. In sculpture this is not the
case. The composition “Bantams” by
Ralph H. Humes is distinguished. In
this group are works by Cornelia
Tucker, Charles Rudy and Harry Rosin.
Distinction and individuality are shown
in the oils by Marina Timoshenko and
Louise Trevisan. For outdoor feeling
the paintings by John N. Fossler, Oscar
Mol'er, Walter Lundborg, A. Doragh, A.
Van Nesse Greene are best.
Several Hungarian artists are repre-
sented by prints in the print room of the
NEW YORK EXHIBITION CALENDAR |
Ackerman Gallery, 46 agll = St.—Water
colors by J. D Ream, Dec.
Ainslie Galleries, 677 Fifth . pe
by William S. Horton and Anna P. Gellen-
beck, Dec. 1-16.
Allied Artists of America, 215 West 57th St.—
13th annual exhibition, to Dec. 13.
Anderson Galleries, Park Ave. and 59th St.—
“Adventures of an Illustrator,” by Joseph
Pennell, Dec.
Art Center, 65-67 East 56th St.—Fifty prints
of the year shown by the American Tastitute
of Graphic Arts, to Dec. 12; group of royal
Copenhagen porcelains, Nov. 30 to Dec. 12;
small sculptures in soap, Dec. 2-30.
Art Students League, 215 West 57th St.—
Drawings by Boardman Robinson, Novy. 30
to Dec.
Arden Galleries, 599 Fifth Ave.—Fruit and
flower designs ‘and decorations, shown by the
Garden Club of America, Dec. 1-28.
Artists’ Gallery, 51 East 60th St..— Exhibition
of paintings, water colors and lithographs by
Jan Matulka, to Dee, 5.
Babcock Galleries, 19 East 49th St.—Paintings
by Russell Cheney and José Arpa, to Dec. 5.
Bourgeois Galleries, 693 Fifth Ave.—Paintings
by Arnold Friedman, to Dec. 14.
Broke. Museum, Eastern Parkway—Special
exhibition of paintings by American artists,
to Jan. 3; paintings by Dr. Axel Gallen-
Kallela, and other European artists, to Jan. 3;
permanent exhibition | Tissot’s water colors
of the Life of Christ.
D. B. Butler & Co., 116 East 57th St.—Old
New York and naval prints, to Dec. 15.
City Club, 55 West 44th St.—Paintings by A. J.
a)
gdanove, to Dec. ‘
Corona Mundi, 310 Riverside Drive—Tibetan
banners, to Jan. 3.
Daniel Gallery, 600 Madison Ave.—Water
colors by modern painters.
Dudensing Galleries, 45 West 44th_St.—Exhibi-
tion of paintings by Victor Charreton, to
Dec. 14.
Duveen Galleries, 720 Fifth Ave.—Paintings
by Sir John Lavery, Nov. 30 to Dec. 19.
Durand-Ruel Galleries, 12 East 57th St.—Sculp-
ture by Nanna Matthews Bryant, Dec, 1-15.
Ehrich Galleries, 707 Fifth Ave.—Christmas ex-
hibition of paintings of the Madonna.
Fearon Galleries, 25 West 54th St.—Paintings
by Reynolds, Hoppner and Laurence, begin-
ning Nov .
Ferargil Galleries, 37 E. 57th St.—Sculpture
by Harold Erskine; paintings by Alexander
Bower and Alfred Smith, to Dec. 9.
Grand Central Galleries, 6th floor, Grand Cen-
tral Terminal.—Centennial exhibition of the
National {eodemy of Design, Dec, 1-Jan.
Harlow Gallery, 712 Fifth Ave. —Etchings and
drawings by Marguerite Kirmse.
Holt Gallery, 630 Lexington Ave.—Exhibition
cael by E. Maxwell Albert, Dec.
Kennedy Galleries, 693 Fifth Ave.—Etchings
by D. Y. Cameron, to Dec. 14; water color
drawings of naval ‘subjects by Gordon Grant
and exhibition of monotypes by Giovanni
Lentini, to Dec. 15.
Keppel Galleries, 16 East 57th St.—Etchings
by Ernest D. Roth, beginning Dec. 2.
Kit Kat Club, 13 East 14th St. —Paintings
and sketches by members, beginning Dec. 4.
Kleykamp Galleries, 3-5 East 54th St.—Open-
ing exhibition of Oriental art, to Dec. 5.
Knoedler Galleries, 14 E. 57th St.—Water
colors by H. B. Bradazon and one hundred
stchings by modern masters, Nov. 30 to
ec, 1
Krauschaar Galleries, 680 Fifth Ave—Water
colors by American artists, through December.
John Levy Galleries, 559 Fifth Ave.—Paintings
by American and European artists.
Lewis and Simmons, Heckscher Bldg., 730
Fifth Ave.—Old masters and art objects.
Little Gallery, 29 West 56th St. “Exhibition
of jewelry and silver, to Dec. 5.
Macbeth Galleries, 15 East 57th St.—Special
exhibition of paintings by De Witt and
Douglass Parshall, to Dec. 7.
Metropolitan Museum, Central Park at 82d
St.—Rerissance wood cuts; Chinese paint-
ings, through December; etchings and en-
gravings by Diirer, through December,
Milch Galleries, 108 West 57th St.—Landscapes
from Cornwall, by W. Elmer Schofield, to
Dec. 5; etchings by Alfred Hutty, to Dec. 5.
Montross Galleries, 26 East 56th St.—Water
color paintings by five Boston artists, Nov. 30
Munich Art Ass’n., Hotel Waldorf-Astoria,
suite 120—Fifth annual exhibition of po
ings, sculpture, and prints, to Dec.
National Arts Club, 119 East 19th St. s ittch-
ings by living American etchers, Dec. 2-20.
National Association of Women Painters &
Sculptors, 17 East 62d St.—Exhibition of
small paintings, Dec. 1-24,
New Gallery, 600 Madison Ave.—Paintings
lag Cuba by George Biddle, and paintings
y_E. P. Stadelinann, to Dec. 5.
x? ¥. Public Library, “42d St. “and Fifth Ave.
—Recent accessions to the print collection;
rints of New York City from the Eno col-
i. -
N. Public Library, West 100th St. Branch.
kota by John R. Koopman.
N. Public Library, 115th St. Branch.—
South Sea paintings by Stephen Haweis.
Nordic Arts Studio, 53 West 48th St.—North-
ern arts and crafts.
The Pen and Brush, 16 East 20th St.—Paint-
ings by members, to Dec. 17
Persian Art Center, 50 East 57th St.—Exhibi-
tion of Persian art.
Pratt Institute, Ryerson St., Brooklyn.—Paint-
ings and drawings from the Ladies’ Home
Journal, to Dec. 19.
Ralston Galleries, 730 Fifth Ave.—Portraits,
landscapes, etc., from Portugal, Brazil, and
Northern and Southern srepe, by A.’ Hel-
berger, Nov. 30 to Dec. 12
nee may de 693 Fifth Ave—Flower paint-
pee Carle Blenner. beginning Dec. 3.
Rein ardt Galleries—“The semptation of
Christ,” by Titian, to Dec. 5.
Salmagundi Club, 47 Fifth Ave.—Annual ex-
hibition of thumb box sketches, to Dec. 22.
chool of Design and Liberal Arts, 212 West
59th St.—Decorative fabrics and "designs for
interiors.
Schwartz Galleries, 517 Madison Ave.—Marine
paintings and water colors, to Dec. 16.
Scott & Fowles, 667 Fifth Ave.—Paintings by
Maxfield Parrish.
Society of Arts and Crafts, 7 West 56th St.—
Batique scarfs, by Harry Dobinson, Nov. 30
to Dec. 5; miniatures by Harriet Lord, Dec.
4-17; jewelry by Gertrude Peet, Dec. 7-12.
Mrs. Sterner’s Gallery, 705 Fifth Ave.—Draw-
ings by Old Masters, from the Pierpont Mor-
gan Library, Mortimer Schiff and other col-
lections, Dec. 1-17. ‘
Weyhe Gallery, 794 Lexington
wood cuts, to Dec. 5.
Whitney Studio Club, 14 West 8th St.—Paint-
ings by M A. Tricca, onl Snenpeneein, and
Buelah ( t, to
Wildenstein Galleries, ea? Fifth "Ave.—Portraits
by Romaine Brooks.
Max Williams, 538 Madison Ave. Ship Models
and old prints; paintings by Arthur
Schneider, through December.
Women’s City Club, 22 Park Ave.—Exhibition
of paintings by women artists, through De-
cember.
Howard Young Galleries, 634 Fifth Ave.—
Paintings of ships and the sea by Gordon
Grant, to Dec. 12.
Ave.—French
The Pennsylvania Academy
of the Fine Arts
Broad & Cherry Streets, Philadelphia
Oldest Art School in America
Instruction in Painting, Sculpture and
Illustration. Send for Circular.
BARBARA BELL, Curator
THE PORTRAIT CLASS
opens eighth season November first
Weekly criticism by
CECILIA BEAUX, N. A.
Apply te director:
Miss Elizabeth C. Stanton
1 Gramercy Park New York City
LUCERNE
THANNHAUSER
GALLERIES
MUNICH
and Charles Rohlfs.
artists represented are Martin F. Mann,
Pennsylvania Museum in Memorial Hall,
Fairmount Park. Gyula Conrad shows
color etchings of Hungarian countryside.
Nudes dominate the output of Kalman
Istokovits. Vilmos Aba Novak creates
emotion with the art that conceals its
sources. Most of the works are gloomy
in spirit.
—Edward Longstreth.
BUFFALO
The third annual exhibition of the
Independent Artists of Buffalo opened
Nov. 9 in the gallery at 693 Main St.
Speeches were made by Dean Hyland
Among the local
Edith Jane Bacon, Grace R. Beals, Ro-
salie Cortese, Anna E. Denny, Mary Der
Ahner, Mrs. Sylvester M. Esmond, Emil
Farris, Frank T. Ford, Mrs. Robert Ger-
main, Peter J. Golden, Gertrude H. Jones,
Emmylou Morgan, Kevin B. O’Callahan,
Charles Patricola, Julia D. Pratt, Calo-
gero S. Scibetta, and Herbert Smithers.
Sixty selected canvases by George In-
ness, the greatest single collection of the
artist's work since the memorial exhibi-
tion at the time of his death, are now
on view at the Albright Art Gallery.
A catalogue of the exhibition prepared
by the Museum contains tributes and
choice reproductions.
OMAHA
Seventy-two paintings are shown in
the tenth annual exhibition of the
Omaha Art Guild, which is being held
at the Brandeis stores until Nov. 28.
Louie Dovey Betts, Augusta Knight,
Charles H. Cady, Bruno Fuchs, Charles
Hegle, Cordelia Johnson, William Nicas,
Phillip Retz, J. Laurie Wallace and
Pamela H. Sylvester are among the ex-
hibitors.
Copley Square
ROBERT C. VOSE
(Established 1841)
PAINTINGS |
by Old and Modern Masters
CARRIG-ROHANE Carved Frames
559 Boylston Street
BOSTON
Durand-Ruel
NEW YORK
12 East 57th Street
PARIS (8£)
37 Avenue de Friedland
PAINTINGS by
Modern Masters
Daniel Gallery
|
Jacques Seligmann
& Co., Inc.
WORKS of ART
NEW YORK
705 Fifth Avenue
(Corner 55th St.)
—O—
ARIS
+ St. Dominique
sien Palais de Sagan)
YAMANAKA & CO.
680 Fifth Avenue, New York
—_—o—
WORKS OF ART
FROM
JAPAN and CHINA
ARNOLD
SELIGMANN & FILS
Works
of Art
23 Place Vendome, Paris
—o—
Arnold Seligman, Rey & Co.
Incorporated
11 East 52d St., New York
600 Madison Avenue New York
| Eien Sah Arthur Tooth & Sons, Ltd.
Osaka Boston 155 N
| Peking Shanghai ew Bond Street, London
¢
Fine English Portraits
Modern British
and French Art
ao™
5 a
‘
O
a
<
co* 2 West 56th Street
New York
ON VIEW
Autographs of Celebrities
and
Portraits and Views of
Historical Interest
Bonaventure
Galleries
536 Madison Ave., New York
=
Live Music Archive
Librivox Free Audio
Metropolitan Museum
Cleveland Museum of Art
Internet Arcade
Console Living Room
Books to Borrow
Open Library
TV News
Understanding 9/11