8 on DEC 6 1929 ger » The ART DIGEST

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“LADY WITH A GOLD CHAIN,” BY LUCAS CRANACH (1472-1553). A “German Mona Lisa.” Shown at the Van Diemen Galleries’ Cranach Exhibition. Reproduced by Courtesy of the Owner, Edouard Jonas. nil FIRST-DECEMBER 1929 TWENTY-FIVE CENTS The Art Digest, rst December, 1929 JACQUES SELIGMANN & C° 3 East 51st Street, New York PAINTINGS and WORKS of cART

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Volume IV Ist December, 1929 Number 5 Super-Skyscraper Did a Mona Lisa Also Inspire Cranach?

Lucas Cranach the Elder was court painter to the Elector of Saxony, and in his studio at Wittenberg, removed from Italian influences, he paintéd in Germanic taste the shapely and slant-eyed beauties of the court and also, in respohse to ecclesiastical de- mand, madonnas, crucifixions, and other subjects drawn froth the Bible. He was a popular artist, as popular almost in his time at as Peter Paul Rubens was in his, and, like the Flemish painter, he maintained a work- shop that was literally a picture factory. Much confusion has existed in the past as to what was a real Cranach and what was a workshop painting. Dr. Max Friedlander, the German expert, a few years ago under- took to unravel these attributions. His is the authority behind most of the loan collec- tion of 28 pictures now being shown at the Van Diemen Galleries, New York. More than a dozen of them were lent by American connoisseurs, a few were provided by other dealers, and the rest were obtained in Europe by Dr. Karl Lilienfe!d of the Van Diemen Galleries. : One of these pictures, “Portrait of a Lady With a Gold Chain,” which was lent by Edouard Jonas, Paris and New York dealer, was referred to by William B. McCormick, art critic of the American as a “brilliantly humorous German version of the Mona “Portrait of a Lady in Red,” Lisa.” This is reproduced on the cover of by Lucas Cranach. Tue Art Dicest. Another work, lent by a New York collector, “Portrait of a Lady in Super-Skyscraper, by Waid and Corbett. Red,” reproduced on this page, was referred | portraits, as many of these are crowded into to by Henry McBride in the Sun as having | their frames, with an awkward vehemence. “a smile that is as enigmatic as Mona His emphasis on linear design and sharp The 100-story skyscraper above depicted contour in many of his greatest portraits may be erected some day for the Metropol- Lisa’s.” This lady with the meaningful eyes appears several times in the co!lection. She | betrays the engraver. 3ut this line has a itan Life Insurance Company of New York, | belongs to Cranach’s last and mature period, | peculiar individual charm, a decisive vigor, at No. 1 Madison Ave., but at the present and imparts a personal character to a‘l his and one wonders whether he, as Leonardo it is. merely a hypothetical solution of a | work.” is supposed to have done, found specific in- problem which may arise in future, worked Royal Cortissoz in the Herald-Tribune spiration that made old age livable. out by the concern’s architects, Dan Everett | places Cranach below Diirer and Holbein, Margaret Breuning in the Post wrote: Waid and Harvey Wiley Corbett. The and says: “Cranach was remarkable for his company is so impressed with the idea, “While Durer journeyed to Italy and was | animation, for his truth, for a certain pow- however, that a 32-story building which it ~1 profoundly influenced by the work of its | erful, if occasionally naive, realism. He will soon erect adjacent to its old and artists, and Holbein actually spells the | had fancy rather than imagination.” famous ‘Metropolitan Tower” will actually Renaissance in Germany, Cranach appears Among those who lent paintings are Julius be a unit of the greater structure. The curiously archaic, preserving the old Gothic | Haass, William Goldman, Samuel Unter- Waid-Corbett plan would accommodate flavor in his original conceptions. In this myer, Mrs. Edwin Bayer, Edouard Jonas, 30,000 office workers. The company now has way he represents for us today the psycho!- | De; 12,000. Franz Hirschland, John Ringling, ogy and genius of his time and race vividly. The architects threw tradition aside, and Messrs. Boehler and Steinmeyer, Charles H. ‘ He makes few concessions to the Worcester, Albert Keller, Mrs. William conceived a building so different in its mass and detail as to be startling even to the schools or fashions of his day, crowding his Timken and the Buffalo Fine Arts Academy. modernist in architecture. It would be an obelisk-like structure of glass and steel set like a shallow bay window, the glass reach- Why Come East? on a pedestal of steel and marble. It is ing to the ceiling level. This would carry the According to El Palacio of Santa Fe, essentially a creation of this age, a frank vertical accent to the uppermost reaches of Carl Redin recently returned to his home expression of the new conditions with which the building. Every inch of space would be builders in America must deal. If erected, usable and there would be no extraneous in Albuquerque after a trip through south- 'h ern and southeastern New Mexico during it would stand as a modern _interpre- ornament. tation of the American building problem which he is reported to have so!d $22,000 unhampered by archaeological precedent. worth of his paintings. Next to Redin, El ee Instead of placing windows as is cus- Cadorin Gets Commission Palacio says, “the largest sales of paintings tomary, occupying less than 50 per cent of Ettore Cadorin, California sculptor, has during the current year have been made by the whole surface and recessed in masonry, been awarded the commission to make a Sheldon Parsons and Fremont Ellis, who, Messrs. Waid and Corbett propose that the bronze statue of Father Junipero Serra, too, exhibit freely locally instead of away entire surface between steel supports should California’s first missionary, for Statuary from home. J. H. Sharp also is very suc- be of metal and giass, projected somewhat Hall in the Capitol at Washington. cessful in the local sale of his paintings.” 6 The Art Digest, rst December, 1929 Ralph Pulitzer and Other Collectors Acquire Works by Bruce

“Fiesole Hills,” by Edward Bruce: Owned by Ralph Pulitzer. “Apples,” by Edward Bruce. Owned by Ralph Pulitzer.

Eight years ago Edward Bruce quit Wall Luxembourg. Other collectors who have ac- leries (until Dec. 7) are showing a collec- Street and a successful law practice to de- quired his works include Adolph Lewisohn, tion of his last three years’ work. The artist vote himself to an artist’s career. Wall Albert Wiggin, Jackson Reynolds, John Er- is now 50. At 42 he retired to devote himself Street is now “depressed,” but the market skine, Carl Hamilton, Duncan Phillips, exclusively to painting. To transform oneself which has developed for the paintings of George S. Hellman, Mrs. W. K. Vanderbilt. from a Well Street lawyer into a successful Edward Bruce seems quite lively: Ralph Mr. Bruce was awarded First Honorable and recognized artist in eight years is no Pulitzer, editor of the New York World, Mention at this year’s Carnegie International small achievement. has just acquired two, which are reproduced for “A Pear Tree,” which was reproduced A “digest” of what the critics say of Mr. above, and the French government recently on the cover of the Mid-October number of Bruce’s new show will be found under “New purchased his “Farm in Savoy” for the Tue Art Dicest. Now the Reinhardt Gal- York Season.”

Who is going to say that dreams won’t come Art and a Queen true.’” And Marie smiled sweetly. Ann Arbor Show Tue Art Dicest would like to have some Florence Davies of the Detroit News re- It was amusing, the story that Col. John of its Oregon readers send in the latest news gards the art exhibition of the Ann Arbor H. Carroll, attorney, told the senate lobby concerning the Maryhill Museum of Fine group at Alumni Hall under the auspices of investigating committee on Nov. 19 concern- Arts. What has become of the project and the Art Association as a challenge to the ing his experiences as chaperon of the special where is the $2,000,000 worth of art? train that carried Queen Marie of Rou- state-wide Michigan Artists’ show. “When mania on her tour of the United States and the number of artists in the Ann Arbor Canada two years ago. The funniest part, Pennsylvania Academy community is compared with the number in and the one that brought roars of laughter, The 125th annual exhibition of the Penn- all of Michigan, and the results measured, according to the New York World, was his sylvania Academy of the Fine Arts will be the noble Wolverine state is put to shame. recital of the dedication of the Maryhill held from Jan. 26 to March 16. Entry is “It must be admitted that much of the Museum of Fine Arts, located on the Colum- open to all American painters and sculptors. work shown in Ann Arbor equals the best bia River about 100 miles from Portland, Artists must have their entry cards in the that we can muster at the state show, while Ore. The promoters of this enterprise had hands of the Academy by Dec. 27, and all the number of amateur and student con- works must be in Philadelphia by Jan. 6. invited Queen Marie to dedicate it. She had tributions seems hardly more numerous, A circular giving full particulars can be had accepted and had been instrumental in gath- amateurish or lame. by addressing the secretary, John Andrew “There are, of course, as in almost every ering $2,000,c00 worth of art for the mu- Myers. show, one or two canvases which very obvi- seum, which she had with her. The juries this year: Painting—Hugh H. “When we got up in Canada,” testified Breckinridge, chairman; Charles Burchfield, ously must have found their way indoors as Col. Carroll, “the New York World came Truman Fassett, Eugene Higgins, Ernest a means of encouraging the beginner, a vi- aboard with some kodak pictures that Lawson, Roy C. Nuse, Abram Poole, Leopold cious practice at best. The classroom is the showed the Maryhill Museum of Fine Arts Seyffert, Carroll Tyson, Malcolm Parcell, place for such encouragement, not the public was nothing but a few walls of concrete. William M. Paxton. Sculpture—Leo Fried- exhibition hall. Say what you will, lies are There wasn’t a door. There wasn’t anything. lander, Walker Hancock, Albert Laessle. always abominable, and the muddled portrait And we had in our train $1,500,000 in paint- Hanging committee—Hugh H. Breckinridge, or sickly sketch which: gets a place on the ings and statuary to put in the Napoleonic John Frederick Lewis, Roy C. Nuse, Wil- line to cheer the beginner, but not because Room when we got there, with two high liam M. Paxton, Leo Friedlander, Walter it deserves to be there, only betrays a jury commissioners of France bringing it along, Hancock, Albert Laessle. in a weak and silly sort of lie. Happily, such and we had $500,000 of the same thing to tender-heartedness was only occasionally put in the Roumanian Room, and when we Decorative Arts Exhibition shown here... . got there, there was no Napoleonic Room, San Francisco’s third Decorative Arts “The sculpture is, frankly, not up to the and there wasn’t any Roumanian Room. It Exhibition will be held next April and standard of past years. Perhaps no good end was perfectly ridiculous, and I was never artists must submit plans and sketches be- will be served by stating that the facts are so embarrassed in my life.” fore Jan. 1. Address: Miss Rose Pauson, otherwise. Two or three entries of a serious Col. Carroll described the scene of the 2510 Jackson St. nature and betraying a really intelligent ap- dedication. “She was introduced. proach to the problem seem somehow to have She said: ‘I was invited here to dedicate Gallery Takes New Quarters just missed the mark. While some other en- the Museum of Fine Arts, and I was told The Gallery of P. Jackson Higgs has tries, very clever, even facile in modeling, be- that this was two great crossroads, one signed a lease for the second and third floors tray no real sculptural quality and do, it from the Atlantic to the Pacific, and one of the new Rolls-Royce Building, which is must be said in all kindness and candor, seem from Canada to Mexico, and here was de- being erected at 32 East 57th St, New to be a queer offering to set before the so- signed to be the future seat of empire. .. . York, for occupancy next May. called intelligentsia of a college community.” The Art Digest, rst December, 1929 Humorists Please Critics at the Prussian Academy’s Annual

“Reception in the Soviet Embassy,” “For a Poem by Thoma.” Drawing by “Elegy on the Death of a Pug Dog,” by Karl Arnold. Olaf Gulbransson. by T. T. Heine.

“A Festival of the Arts,” “A Victory of came from Max Osborn in the Vossische Jaeckel. But what interests us is the hunting the Water-Color.” These two headlines from Zeitung: “Why has the celebration of Paul down of the work of the youngest, most tist Berlin newspaper reviews of the autumn Klee’s fiftieth birthday been left to Messrs. promising artists.” elf show of the Prussian Academy of Arts Moller and Flechtheim? Why has such a Three of the most familiar names are elf suggest its two main characteristics—its gay charming aquarellist as Feininger been omit- those of the academy’s president, Max Lie- ful humor and the predominance of water-col- ted? Where is Rohls, who will be eighty in bermann, who shows some charming water- ors, while oil paintings are entirely absent. December, and where are Nolde, Scheyer, colors and pastels with a lightness of touch With one exception, the Berlin critics have Baumeister, Jawlensky, Schlichter, Adler?” that bears no trace of his burden of more welcomed, the. presence and enjoyed the These questions asked, Osborn went on to | than eighty years; Emil Orlik, who has a work of three artists of the Munich “Sim- enjoy himself in this “lively, co!orful, highly | portrait of the conductor Furtwangler and plicissimus”—Olaf Gulbransson, T. T. Heine stimulating show,” referring first, to the two etchings of New York architecture, one and Karl Arnold—and of the Berlin lover of’ three Munich humorists, “who now for a of them entitled “762 Windows,” and Max the common people, Heinrich Zille, whose generation have been wielding the pencil Slevogt, whose “cartoons for the frescoes in death last summer called forth a flood of with the scourge and (except for a brief the Berlin Kindl brewery show the space- reminiscent appreciation. interval) have never lost the unity of point- | commanding power, the spirit and the grace The one critic who was disgruntled at the ed wit and masterly draughtsmanship.” | of the great artist,” according to Anton inclusion of humorists in the exposition was Zille has a room to himself, as also Hans | Mayer in the Acht-Uhr-Abendblatt. Max Deri, in the B. Z. am Mittag. He called Meid, “who has a wonderful series of deli- Richard Engelmann of Weimar and Ru- them “the professional saxophonists of life, cate water-color studies from little Italian | dolf Grossmann of Berlin are represented the caricaturists, who ride Pegasus—bridled towns and charming, vibrant pen-and-ink by both graphic and plastic art; the former wrong-end foremost—as a workhorse.” Of drawings to illustrate a book by, Eichen- with a special exhibit of bronzes, which An- the show as a whole, consisting of 512 works dorff.” “The place of honor in the central ton Mayer says gives a good picture of the by 183 artists, Deri said: “It is becoming hall is occupied this time by Max Pech- sculptor’s transition from the monumental to clear that development is slowly conquering stein, whose latest water colors deserve this | the fine-limbed. Other notable sculptural the post-war reaction. The small minority pre-eminence through the earnest power of work includes Rudolf Belling’s bust of for- of these sketches and water-colors are satis- their color-language.” mer President Ebert, Hermann Brachert’s fied with ‘visible Nature’; the large majority Besides Pechstein, Adolph Donath, in the bronze bust of President Hindenburg, Her- aim at Expressionism and overstep natural Berliner Tageblatt, mentioned as other “firm bert Garbe’s Noa-Noa in wood, Otto Hitz- data in seeking to express the human soul.” supports of the Academy’”—they are all | berger’s large Pieta in wood for the Lauren- Practically every exhibition is ‘criticized there, he says—“Liebermann and Kollwitz, | tius Church in Berlin, Anton Grauel’s two for what it has omitted, and the chief com- Dettmann and Otto H. Engel, Kampf, bronze figures, August Kraus’ bronze stat- ment of this sort regarding the autumn show *lontke and Schuster-Woldan, Philipp uette of Heinrich Zille, and Fritz Klimsch’s Franck, Ulrich Hiibner, Emil Orlik and works in plaster and bronze. Lythgoe Retires After 23 years of service as cura’or of Egyptian Art at the Metropolitan Museum, New York, during which time the collection in his charge has grown from a single gal- lery to a series of 17 rooms, Albert M. Lyth- | goe has retired in order to devote himself | wholly to research. He becomes curator emeritus, while Herbert E. Winlock, who joined the Egyptian department in 1906, as- sumes the exacting duties of curator. Mr. Winlock will continue in the position of director of the museum’s Egyptian Ex- pedition, whose work was started by Mr. | Lythgoe in 1906, and whose excavations have made the Metropolitan’s collection the great- est in America.

A Practical Federation Six cities this year will participate in the co-operative exhibition and lecture activities of the Central Illinois Art Federation— Springfield, Peoria, Bloomington, Decatur, | “Ebert,” by Rudolph Belling. Jacksonville and Galesburg. “Hindenburg,” by Hermann Brachert. 8 - The Art Digest, rst December, 1929 Hamilton Wolf Undergoes a Metamorphosis

A Painting by Hamilton Wolf. “Rhythm of the Waves,” by Wheeler Williams.

“Hamilton Wolf: a Changed Man” is the sence,” and in his new paintings, according There has just been cast in bronze a group caption Florence Wieben Lehre put over the o the critic, “drama and li erature are for- which Wheeler Williams designed as part above picture when she revroduced ‘t on her go‘ten in favor of the art of painting.” of a fountain scheme for the rotunda of the page in the Oak‘and Tribune in connection Hariton Wo!f went to Berkeley to be an Grosse Pointe Yacht Club of Detroit. He with an exhibition in Berkeley. “The work,” art instructor, after having served in that calls it “Rhythm of the Waves.” It is being she says, “is a complete departure from this cayaci‘y at the Chouinard School in Los presented to the club by the secretary, Clar- artist’s previous manner and idea!s; it ar- Ange es. He is s‘ill a young man. When ence L. Ayres. rives at a more satisfactory expression of very young he wandered the South Seas. form than anything he has produced hereto- “ot many know it, but he is the son of a Canadian Academy fore.” Wolf’s previous pi-tures had been man i‘ustrious ‘n the his o-y of American E. Wyley Grier, Toronto pa‘nter, native of characterized by a “dramsatic-literary es- engraving—Semuel Wolf of New York. Melbourne, Australia, who came to Canada in 1878, was elected president of the Royal hy subscribers. Inquir‘es and suggestions may Canadian Academy at its annual meeting A New Magazine he addressed to E. Lou’se Lucas, Fogg Art held in Montreal in connection with the America is to have a new art magazine, Museu, Cambridge, Mess., who is in imme- dominion-wide annual exhibition of the Space, which will be issued from Room 402, | ciate charge of the work. Montreal Art Association. He succeeds 91 Seventh Avenue, and which will be de- Henry Sproatt, Toronto architect. W. S. voted to contemporary American art. It will Canadian “Old Master” Maxwell,. Montreal architect, was elected be conducted by an editorial board com- vice-president. The secretary, E. Dyonnet, Toronto posed of Holger Cahill, editor; Duncan The Art Gallery is ho'ding a and the treasurer, Charles W. Simpson, Ferguson, Edith Gregor, Stefan Hirsch, ‘can exhib‘tion of works by one of i‘s own both of Montreal, were re-elected. Robert Laurent, Dr. B. D. Saklatwalla and “od masters,” Otto Jacobi, wrko went there Ernest Fosbery, Ottawa, was made an acad- Max Weber. The first issue will be off the in 1860 to paint Shawinigan Fa!ls and emician, and the following associates were press about December 15 or soon thereafter. Niagara and who s‘ayed to become an named: Kathleen M. Morris, Montreal; It is planned to publish four numbers of | infiven‘ial factor in the Domninion’s art, being Elizabeth S. Nutt, Halifax; Peter C. Shep- Space during the present art season, for a ore of the founders of the Royal Canadian pard and John S. Pearson, both of Toronto. subscription price of $1.co. Academy 50 years ago and its president from 18co to 1892. He taught at the Ontario A New Art Gallery College of Art. A Periodical Index Most of the pictures were lent by Thomas Lucy Lamar, wife of’ Julian Lamar, the The Carnegie Corporation of New York Tenkins, who has hoairded Jacobis by the portraitist, will open the Lucy Lamar Gal- has made two grants to the American Asso- score. “Many of his hillscanes,” wro‘e leries, 38 East 54th St., New York, on De- ciation of Museums: one of $5c,009 for Avgus‘us Bridle in the Star, “run to pat- cember 3, after a formal reception the eve- general work during the nex‘ five years; terns: the co'or-gladed forerround, the ning before. The first exhibition will com- prise the work of thirteen painters, varying the other of $10,000 fo- the initial subsidy stream or leke midway and at t*e hack the from Albert Sterner to Henri Matisse; six of a seria! index of period’cal literature in haze-hune hi'ls. He experimented with light, sculptors, including Roy Sheldon and Hunt the fine arts. The H. W. Wi'son Company | but in a land of tremendous ligt mde less Diederich; twelve etchers, and one minia- of New York, publishers of period‘cal in- headway than with co'or. . No painter turist. dexes and other bibliogranhical aids, has | of today is more individualistic.” agreed to undertake the work made possible | by the smaller grant, wi hout proSt to the Gallery Invites Exhibitions firm. A St. Johns Museum Because of the increased space in its new A detailed statement of the scope of this The Common Council of St. Johns, N.B., quarters at 37 West 57th St., the Fifteen enterprise and the methods by which it will kas voted $'00,0c0 and a si e for the erection Gallery, organized to market the work of its be carried on will be issued by the publisher of a new Provincial Museum. In addition to fifteen artist members, now announces it at an early date. As is the case with other ths aopropriat‘on the Provincial Govern- will take a certain number of guest exhibi- Wilson indexes, the ro‘icy of the new publi- ment has give $150,000 and Colonel Murray tors whose pictures will be shown under cation will be determined as far as possible MacLaren, $25,000. practically the same-conditions. - The Art Digest, rst December, 1929 9

success he will make a gift of one of them. $50,000 of Sales Made at Davies Exhibition “TI will be well compensated,” Mr. Mor- gan writes, “if the Asheville Art Gallery @ i J becomes a well-established reality, as St. es - % b ie Paul would have been with a new convert to the faith which he was teaching. For art, as it expresses the truths of nature, is my religion.”

THE FIFTY-SIXTH ST. GALLERIES

Sculpture Center of America

PERMANENT EXHIBITIONS “Summer Lush,” by Arthur B. Davies. Bought by Edith Stephens. OF Eighteen paintings in oil and water Mrs. William Crocker of California; “Up- SCULPTURE color by the late Arthur B. Davies have land Meadows,” to Dr. Herbert Fridenwald ; been sold from the exhibition at the Ferar- “Mountain Pass” and “Eze Near Chateau BY AMERICAN gil Galleries, New York, of works that d’Aute,” to Miss Marian Hollins of AND FOREIGN ARTISTS remained in his studio when he died a year California. ago. The pictures brought approximately The Metropolitan Museum, New York, $50,000. Other sales are pending. The works will open a memorial exhibition of Davies’s SPECIAL EXHIBITIONS sold included the superb example reproduced work on Feb. 17, which will include his in the last number of THE Art Dicest, “I outstanding paintings in all the great collec- Hear America Singing,” which was inspired tions of America. December 2 to 14 by Walt Whitman’s poem and which ranks among Davies’s masterpieces. It was painted Russell in Hall of Fame ten years ago, but the artist never would CARL MILLES At a meeting of the Russell Memorial part with it. Its new owner, who paid Sculpture Commission of Montana, presided over. by $12,000 for it, is atNew York collector who Governor John E. Erickson, an invitation never before bought a Davies. The artist was issued to the nation’s sculptors to sub- F. LUIS MORA symbolized the theme by three nude figures mit models for a statue of the late Charles Sculpture & Paintings '1(Rocwerewv in a remarkably beautiful California land- Marion Russell for the National Hall of scape. Fame, Washington. Vesta O. Robbins was Mr. and Mrs. Wendell T. Bush, whose elected secretary and treasurer. ALEX. CALDER collection eventually will go to the Brooklyn Sculpture & Wire Figures Museum, acquired five pictures, “Florentine Gallery for Asheville Hills” and “The Listeners” in oil, and three BARRY FAULKNER water colors. Miss Edith. Stephens of Through the efforts of the painter, Theo- — PPeh dore J. Morgan, Asheville, N.C., is going to Wilkes-Barre, Pa., bought “Summer Lush,” Water Colors have a permanent art gallery. At a recent herewith reproduced; a lyrical theme in meeting of the Asheville Club for Women, Davies’s later manner. Mrs. Mary O. Jenkins under whose auspices the new venture was of Chicago added to her other gems by the launched, Mr. Morgan was elected director. artist the rare “Isolde.” Among the other Previously he had started the ball roll- 6 East 56th Street mee nOOOWS pictures sold were: “Its Light Unladen,” to ing by offering to loan 20 of his own oil paintings for one year. If the museum is a S .@& = WHITNEY STUDIO | Legacy of Madame la Comtesse Odon de Montesquiou-Féznsac | GALLERIES - WORKS OF ART AND FURNITURE | of the XVI, XVII and XVIII Century 10 West 8th Street * New York Paintings, Water-Colours, Pastels, Drawings, Porcelains, | CHRISTMAS SALE | Bronzes and Clocks | ANTIQUE FURNITURE PRICES *10°° to *500°° | Seats and Screens of the XVII and XVIII Century WATER CoLors WoopcuTs LITHOGRAPHS DRAWINGS TAPESTRY of AUBUSSON ETCHINGS PAINTINGS from the Chateau of Courtanvaux (Sarthe) MONOTYPES SMALL SCULPTURE December 11th to 23rd To be sold by auction at the o Crryeys ws Galerie Georges Petit, 8, rue de Séze, Paris Exhibition of Paintings by JEAN COCHET Monday and Tuesday 9th and 10th December 1929 Auctioneer: December 9th to 23rd Me. F. Lair Dubreuil, 6 rue Favart, Paris Week Days Sundays Experts: 10A.M.tol0P.M. 3P.M. tol0P.M, M. Jules Féral, 7 rue St. Georges M. G. B. Lasquin, 6, rue Rodier

Se aes.“Se 10 The Art Digest, rst December, 1929 Detroit Museum Shows Ancient Chinese Art in a Modern Setting

exhibition is more interesting than its arrangement and all that it implies and sig- nifies. For in the cases in which the smaller objects have been placed a purely modern setting has been devised, a series of suc- ceeding planes in set-back arrangement, offering a highly simplified geometric back- ground for the objects shown. “Now the important and interesting thing about this arrangement is that though mod- ern it lends itself so admirably to the art of ancient China, thus revealing the fact that long before the word ‘modern’ ga‘ned its specialized meaning, the Chinese understood and practiced the principles employed in modern art, principles of simplification, pur- ity of form and geometric structure. “It is not by chance, therefore, that the bronzes of a thousand years ago seem to Bronze Pitcher, Han Dynasty. belong naturally in a pure!y contemporary Lent by Yamanaka. setting. For the differentia of modern art flower pots,a white Tang bowl, an enamelled which mark them have been consistent Tzu Cho vase and a Han jar of the Hu through the ages. type, lent by Mrs. and Mr. Edsel Ford. “It is not to be supposed therefore that The jades are few in number and are Ancient Caldron-Steamer. Lent by Burchard. modern art has necessarily borrowed from chiefly confined to the archaic symbolical The Detroit Institute of Arts is holding the Chinese, or from any other ancient pieces of the Chou period. In the field of until Dec. 10 a large loan exhibition of source. But rather, that whatever is sound ancient bronzes there are a number of rare Chinese art. Since the fie'd is so vast, the in either expression is ageless and of all and unique examples. Sculpture includes a show has been limited to the best available time.” pair of life-size Bhikshu from Nanhsiang examples of pottery and porcelain, jade, The first objects listed in the catalogue Tun, lent by C. T. Loo. Of the paintings, bronze, sculpture and painting of the classic are a group of porcelains of the three great which are almost all of the Sung and Yuan period, with no attempt to include complete reigns of the Ch’ing dynasty, showing both periods, eight are hand scrolls. One of the ranges of types. Benjamin March, curator the monochrome and decorated types. The several unique objects is an imperial crown of Asiatic art, lists in the catalogue, after earlier wares are represented by two dec- of gold filigree set with pearls, uncut rubies a general historical introduction, 88 items, orated Ming pieces, a pair of Ch’ing Chun and cat’s eyes, lent by P. Jackson Higgs. each with an individual description and, wherever necessary, some note on symbol- ism. Florence Davies writes in the Detroit News: “Perhaps no one phase of the CARTOO ADVERTIS

Complete instructions. NOT a correspondence course. Contains all you need know. Based on 20 years PAINTINGS BY in N. Y. Studios. 5 years in mak- ing. Nothing like it in history of art publishing. A massive work for little money. Not a re-hash of IWAN F. old used drawings. New, crisp, practical. All sent at one time in strong, plain shipping box for one price. 1,000 ILLUSTRATIONS 66,000 WORDS OF HOULTS INSTRUCTIONS SIX DIVISIONS IN BIG “LIFT-OUT”’ COVER FOR $5. COURT PAINTER TO CZAR NICHOLAS II Good as any mail course costing 20 times $5. Lessons easy and pleasant. Inside practices and short-cuts of studios revealed. Worth its weight in gold to those Open Until Dec. 15 allied in any way with adver- tising. Send for it NOW or ask for specimen pages. AT THE GALLERIES OF EDOUARD JONAS 9 East 56th Street New York

3 Place Vendome, Paris H. FOX, Publisher, 417 5th Ave., New York City: Please send FREE specimen pages of “Cartooning and Advertising Art.” SUNDAYS 2to5 p.m.

NN AI OE OE TPO SEU TO TT No salesman will call. A. D. 12 The Art Digest, rst December, 1929 11 3 A Shavian Shaft 20,000 See Minneapolis Old Master Show

George Bernard Shaw thinks that art More than 6,000 persons saw the loan prices are entirely too high. Advocating a exhibition of old masters at the Minneapolis “Woolworth” exhibition where no canvas would cost more than $25, Mr. Shaw said: Institute of Arts in the first three days, and “In the economics of fine art there is no 12,726 in the first ten days. It was regarded more tragic chapter than the history of as certain that at least 20,000 would see the prices. All my life I have been confronted in show before it ended on Nov. 30. picture galleries with price lists conceived in The art dealers were generous in their thousands, attached to pictures for which no loans. Eleven firms, two museums and two sane person, even of the millionaire class, private collectors helped. The Metropolitan than $25, could be expected to sacrifice more Museum of New York sent “Queen Mari- and outside the galleries were seedy artists, anna of Spain” by Velasquez. The Detroit starving artists and begging artists.” Institute of Arts and F. W. Clifford and The Shaw statement has been challenged by numerous artists. According to the John R. Van Derlip, Minneapolis collectors, Christian Science Monitor, C. R. W. Nevin- loaned pictures. The firms represented were: son, who seems to have a proclivity for tak- Drey, Durlacher, Ehrich, Knoedler, Scott & ing issue with Mr. Shaw on art matters, Fowles, Jacques Seligmann & Co., Van said: “Mr. Shaw is talking utter nonsense. Diemen, Wildenstein, Vose and the Ander- He is living in the age of the dodo, when son Galleries of Chicago. canvas, frames, paint and models were led Among the paintings were examples of cheap. Even a frame costs more than $25 Tu Lorenzo di Credi, Tintoretto, Rubens, Van nowadays. Actually the cost of painting pic- Dyck, Hals, Rembrandt, Clouet, Poussin, iTe tures has been quadrupled since those days, Reynolds, Raeburn, Gainsborough, Cranach. but the prices are almost halved.” “Girl With Tambourine,” lent by Selig- The Monitor says: “George William mann’s, herewith reproduced, is by Judith “Girl With Tambourine,” by Judith Leyster. Russell, the Irish painter and writer, who Leyster (1600-1660), Frans Hals’s pupil and painted so nearly like him that in after ages signs his pictures, ‘AE,’ has been quoted as (according to tradition) his mistress, who many of her works were sold as his. ng an example of a successful artist who has a fixed price for his work. When asked the price of a certain picture, Russell said: ‘I the always paint on three sizes of canvas and charge so much each according to size’.” And a dispatch from London to the New York Times says Sir Thomas Lawrence’s DEeMor;rTe “Red Boy” is again in the market at a fig- ure reputed to be $1,000,000! Gainsborough’s “Blue Boy” was sold for $750,000. EXHIBITION OF

Ruth Teschner Costantino ORIENTAL PAINTINGS of Via Giulia 167, Rome

Announces an Exhibition (and Sale) of tit UNTIL DECEMBER 2ist Selected Pieces of ANTIQUE FURNITURE, TEXTILES néw-YORK PARISS AND WORKS OF ART B25AHST B 27 RUG DE | At the Galleries of 78% STREET BERRI (VIII®) ROLAND MOORE, Inc. 42 East 57th Street - New York City From November 15 through December

— ARTHUR U. NEWTON Morton Galleries (Late of 175 Piccadilly, London) 49 West 57th St., N. Y. C.

Paintings by Younc AMERICANS

arod

WORCESTER ART MUSEUM 18th CHRISTMAS SELLING SHOW Century Sporting December 2 to 21 1 to 6 P.M. English Pictures GB Dp. STUDIO Portraits 58 West ssth Street, New York

‘American Print Makers’”’

ETCHINGS . . LITHOGRAPHS . . WOOD CUTS “The Idler” by A. G. Munnings by 36 American Contemporary Artists (Exhibited at the Carnegie Institute, Pittsburgh, 1910 THE DOWNTOWN GALLERY 665 Fifth Avenue (Tel. Plaza 0505) New York 113 West 13th Street New York 12 The Art Digest, rst December, 1929 Mussolini Rides a abies — Titan A Merger The Arts Council, New York, has merged with the Art Center under the joint name, Art Center Council. This action was made the possible through a grant of the Carnegie ga Corporation and was done to strengthen the Nz influence of both organizations and to con- the solidate their work, which in many. ways had become similar. The Arts Council will vo continue to hold exhibitions at the Barbizon in Branch of the Art Center and its work of extending interest in the art of design will M also continue under the supervision of Florence N. Levy. The Art Center, a federation of seven art producing societies, was incorporated in 1920 and owns its building in East Fifty-Sixth street. Its purpose is to foster all forms of fine and applied arts, especially those relating to industry. It held 67 annual and special exhibitions in its home galleries last season and reached 200 cities with travelling exhibitions. Two of its best known shows are those of “Fifty Prints of the Year” and the “Contempora” ex- hibit of modern interior decoration. The purpose of the Arts Council, which came into existence in 1927 as a result of a committee appointed by the National Academy of Design and the Architectural Equestrian Statue of Mussolini, by Giuseppe Grasiosi. League, is to extend the influence of the arts throughout the New York region, do- Readers of THE Art Dicest who saw in in his heroic 19-foot specimen of equine dy- ing for them what the branch libraries the Mid-October number a reproduction of namics? And look what he did to the rider! do for literature. The twelve advisors, the head of Giuseppe Graziosi’s heroic eques- Did anybody ever see I] Duce in just that elected by the 50 art societies composing trian statue of Mussolini for “I Littoriale” posture? However, there was no “art con- the Art Center Council, will direct the ac- at Bologna have asked us to reproduce the troversy” in Italy over the subject. Musso- tivities of the new organization. They are: whole statue so that they may compare it lini liked his statue. And Haig, he was dead. Harvey Wiley Corbett, Leon Dabo, Kath- with A. F. Hardiman’s model for General The Mussolini statue had a triumphal erine S. Dreier, George K. Gombarts, George Haig’s memorial (in the September num- progress of six days over the Apennines from S. Hellman, C. Paul Jennewein, Mrs. James ber), which met with so much criticism in Florence to Bologna. Loaded on a huge spe- London. So here it is. If Hardiman trans- cial lorry that took up every foot of the C. Rogerson, Orlando Rouland, Hardinge gressed nature in his horse and failed to road, vehicles had to “side-track” while an- Scholes, F. Ballard Williams and Alon express what a nice, docile, military steed other truck towed it. The peasants and Bement. should be, what did the gracious Graziosi do | mountaineers never had seen such a horse, Edgar V. Seeler Dead Edgar V. Seeler, 61 year old architect, died in Philadelphia after a brief illness. “The He was the designer of many important ter ey structures, and for years was on the faculty of the University of Pennsylvania as assist- ant professor of design. it's paael OTEL Facing Lake Michigan Charming kitchenette apartments furnished in your choice of Garly American, Directoire, Chinese or Moderne Period Styles ~ or hotel rooms for permanent or brief residence. 44300 Clarendon Avenue. CHICAGO TRANSIENT RATES KNOWN FOR GOOD FOOD Dollar Dinner Served Daily “Write for Illustrated Descriptive Booklet STILES MANAGEMENT

J.M. Rosinson, Manager Affiliated Hovele SHERRY NETHERLANDS New York City The Art: Digest, rst December, 1929 13 Canada’s Gallery Gauguin Settee Sells at Auction for $375 red ne, Canada is in much the same position as — de the United States in regard to a national art zie gallery. At Washington there is a makeshift he National Gallery occupying the rotunda of n= the United States Museum, otherwise de- VS rill voted to science, and various storage rooms on in the cellar. In Ottawa the National Gal- of lery is housed on three floors of the National ;peeecssecs: ‘ill Museum in a building never intended for such of a purpose—wholly inadequate to show a na- tion’s art treasures. Half of the collection of en war memorial paintings is stored in the ed cellar and the other half is scattered in the various parliament buildings. There is much fer agitation at present for a new National Gal- lly lery at Ottawa, especially on the part of ial Montreal and Toronto artists. Several of them voiced their gpinions in the Toronto ith Daily Star. . Settee Carved by Paul Gauguin. “Put me down in favor of a National Gal- lery that has a sculpture court,” said A painting by Paul Gauguin is worth and collector, was in Tahiti she bought a Emmanuel Hahn. “In Ottawa now, sculpture many times more than a “Gauguin table” or table and a bench that had been presented by can never be shown except in the rooms a “Gauguin settee.” A Gauguin figure sub- a native chief to the artist and afterwards ject may be worth as much as a Reynolds carved by him. When her art collection or a Romney, but a piece of Gauguin furni- was sold in November at the American Art al sac ture will not bring nearly so much at auc- Galleries in New York, the table brought NEw YORK PARIS ‘tion as something designed by Chippendale. $325 and the settee $375, the buyer being a When Mrs. Cora Timken Burnett, traveller young woman who kept her name secret. The bench, depicted above, is 6 feet 10 BALZAC. inches long. The carved frieze shows a where the pictures are, which never should native head in the center, with conventional- be for. obvious reasons. Art is bought and ized sea horse, wave, leaf, berry and branch, GALLERIES put in the cellars in hope that the govern- with a quaint rabbit-like figure at the ment will take this matter up with the pur- extreme left. Removed to pose to give Canada a gallery worthy of it. “There is a wonderful site,” said Arthur 102 EAST 57th ST., N.Y. Lismer after going over one of the proposed STUDIO FouNDID IN NEW YORK 184) SINCE 1907 Corner of Park Avenue locations with Eric Brown, curator, “over at the junction of the Gatineau with the 2) Ottawa, just above the Curtain Falls in the Restoration of midst of a natural park. What a contrast one’s vision of a gallery there is to the Paintings Old Masters | pitiful ramshackle at present serving for a Modern Paintings gallery.” M. J. ROUGERON Sculptor:for Cranbrook 101 Park Avenue New York David: Evans, of England, has been ap- Meinber: American Artists Professional League pointed resident sculptor at the Cranbrook and Antique and Decorative Arts League Academy of Art, Bloomfield Hills, Mich. OPENING He will execute works for the various buildings now under construction and will | Maurice H. Goldblatt December Sixth direct the students in sculpture. Mr. Evans won the Prix de Rome in Art Expert 1923. At the British School in Rome he Whose attributions have been officially The Pearson Gallery accepted by the directors of the greatest changed from a student trained in all the galleries of Europe, including the classical traditions into a modernist sculp- Louvre, Paris; Dorio-Pamfilio Gal- of Sculpture lery, Rome; Royal Gallery, Bo- tor. Before leaving for America he com- logna; Imperial Gallery, Vienna, 545 Fifth Avenue, New York—7th Floor will authenticate and appraise pleted busts of John Galsworthy and Hugh at 45th Street paintings for our clients. Walpole, as well as a memorial to Bishop Fees commensurate with the value Chavasse for the Liverpool Cathedral. of the paintings ! Correspondence Invited | BRYDEN ART GALLERIES 318 S. Michigan Ave., Chicago Works of Art from China, | Japan and Korea .for the Chev: Prof. P. FARINA Discriminating Collector EXPERT RESTORER OF $ “OLD MASTERS” Nathan Bents & Co. AND AUTHORITY ON THEIR AUTHORSHIP 1§ Sculptures by 437-441 Grant Avenue 1350 South sist St., Philadelphia CARL PAUL JENNEWEIN San Francisco >> A!so CHAS. CHIANTELLI Affiliated Shop: Exclusive Bronze Replicas from famous _ Expert Restorer of Paintings Egyptian, Greek and Roman Masterpieces Specialist for Transferring Paintings from of Small Sculptures Nathan Bentz, Santa Barbara titi Panel to Canvas 572 LEXINGTON AVE. NEW YORK i A A A i A A i i i i 14 The Art Digest, rst December, 1929 Milles Sarcasm Colonel U. S. Grant, 3d, objects to plac- ing a statue of his distinguished grandfather at one end of the Arlington Memorial Bridge, facing a statue of General Lee on the other. In his capacity as executive officer of the Arlington Bridge Commission, Colonel Grant wrote a letter to the Senate explain- ing that the reason for his objection is as impersonal as he believes the bridge should be. “We have always relied,” said the Wash- ington Star, “a great deal in this country upon statues in bronze or stone to com- memorate the lives or deeds of famous men. This connotes a certain lack of imagination and serves to mold our memories into hard and fast forms. A great statesman or a noted scholar becomes a man with a book, whose whiskers either shine in the midday sun or glisten with frost, depending upon the state of the weather. A renowned sol- dier becomes a man on a horse, waving a sword. Any great things that they may have done to deserve this rigid perpetuity be- come of secondary importance to the skill with which the artist has been able to chisel the stone. “The Elk,” by Carl Milles. “With General Grant on one end of the bridge and General Lee on the other, little For the first time, America will have the opportunity would be left for us to enjoy the finer and more subtle symbolism that opportunity, in the first half of December, the Arlington Memorial Bridge is to carry to see a comprehensive exhibition of the out. And as to the statues of two women in “Jose Juan Tablada,” by Hidalgo, sculptures of Carl Milles, whom many re- the center of the bridge, clasping hands gard as Sweden’s leader in the plastic arts. above the words, ‘Let us clasp hands across Visitors to the East Fifty-Sixth Street It may be that he will duplicate in New this bloody chasm’—the impulse of every Gallery in New York in the last fortnight, York his success two years ago in London, visitor for the next hundred years would be though they may have admired the other where the critics unanimously acclaimed his to peer over the bridge railing and look exhibitions, stopped longest in the room genius. The exhibition will be held at the down, not only for the chasm, but for the devoted to the tiny figures and caricatures East Fifty-Sixth Street Gallery. blood.” in wax by Luis Hidalgo, the Mexican. Frank Crowninshield says that this sculptor and Covarrubias “are undoubtedly the two greatest caricaturists in America today. ... He is witty, misanthropic, clairvoyant.” PAINTINGS Thirty-five figures were displayed, includ- ing inimitable interpretations of Eugene By O’Neill and Charlie Chaplin. To those in the “know,” the most delicious was the one, Francis Newton reproduced above, of the Mexican poet and critic, Jose Juan Tablada. It was he who, A collection of 22 intimate seven or eight years ago, brought the first paintings of woods and Hidalgo caricatures to New York. water, in this artist’s inter- esting style. Four Choultse Exhibitions On View Following the exhibition of paintings by December 4th to Ivan F. Choultse, Russian court painter to Czar Nicholas II, now being held at December 14th the Edouard Jonas Gallery, New York, Mr. Jonas will give special showings of the GRAND CENTRAL ART GALLERIES canvases in Chicago, Detroit, and Kansas Open daily from 9 to 6 (except Sunday) 15 Vanderbilt Ave. New York City

“THE Lamp or Nicnt”

An Original Painting by AOTIL MONTAGUE DAWSON Size 36x24 inches O’BRIEN Worns or ART ART GALLERIES fuvtiove Ficture Frames [Established 1855]

673 N. Michigan Ave. CHICAGO 434-Boulevard. Haussmann PARis The Art Digest, rst December, 1929 15 The Slender Purse For Sacramento Similar to the Newark Museum’s show held last summer of artistic objects costing TaNanaaiat not more than 50c, is the exhibition of “In- dustrial Art for the ‘Slender Purse,” now being held at the Victoria and Albert Mu- PAINTINGS seum, London. Its general aim is “to give BRONZES practical proof that beautiful things need ETCHINGS not be costly and that there is no connection PRINTS between cheapness and ugliness.” “When buying a chair or a-pot or a glass, _NINTH FLOOR and demurring at the price,” says the MONROE AT WABASH London Times, “it is a common thing to be CARSON PIRIE told: ‘Ah, yes, but you see this was designed wScott& Com ~ by an artist.’ Unless handicraft—as com- pared with machine production—is involved there ought to be no extra charge for ‘art’ in any article of commerce. So long as there is, the public will sacrifice its taste to its purse, as most readers would if the price Delphic Studios of a novel were dependent on the quality of its printing. Artists, as designers, ought to 9 East 57th Street, New York be well paid, of course, but that is the busi- ness of the manufacturer. In certain trades, Until Dec. 14 other than book production, it has been First American Exhibition made so.” MAROTO “Mountain Phantasy,’ by Truman Fassett. The Hoosier Salon PAINTINGS, DRAWINGS, LITHOGRAPHS “LA ESPANA MAGICA” The sixth annual Hoosier Salon will be The Crocker Art Gallery of Sacramento, Cal., through the California Museum Asso- Always on View held from Jan. 25 through Feb. 12 at the Works of Jose Clemente Orozco Marshall Field Galleries in Chicago. This ciation, has just purchased from the Milch and Thomas H. Benton is Indiana’s big art show, though held out- Galleries of New York Truman Fassett’s side the state. A special feature this year “Mountain Phantasy.” This was one of the will be a room devoted to the wood blocks conspicuous works in the artist’s exhibition of Gustave Baumann, former Indianan who at the Milch Galleries last season. The lives and works at Santa Fe. The jury of Crocker Gallery, which owns more than 700 AMERICAN ARTISTS award and admittance will consist of Claude paintings, is municipal property. OF TODAY Buck, Otto Hake, Mrs. Bertha E. Jaques, Henry G. Keller, Brenda Putnam and James Topping, with Alexander F. Banks, Hoyt Established 1700 PAINTINGS for the CON- King and Mrs. James L. Sayler as lay SERVATIVE as well as the members. PROGRESSIVE TASTE CHENUE 25,000 See Exhibition ‘Packer of Works of cArt DUDENSING GALLERIES The Grand Central Art Galleries, New York, have just closed a large and success- NATIONAL MUSEUM FIVE EAST 5711 STREET ful exhibition in Davenport Iowa. The show, comprising $750,000 worth of selected Paris London New York paintings and bronzes, drew a. total 10, attendance of 25,000 during its ten-day Shipping Agent period. Several important works were sold. 5 Rue de la Terrasse, Paris Schultheis Galleries Following their policy of “taking art to Cable—Chenuter, Paris XVII ESTABLISHED 1888 the people,” these galleries have booked 142 FULTON ST., NEW YORK numerous out-of-New York exhibitions for the season—the schedule including Mil- by waukee, Houston, Urbana, Aurora, Raleigh Ch. POTTIER er Original and Winston-Salem. at Packer for the Metropolitan Museum AINTINGS Swinnerton Gets Notified ne By American and Foreign Artists When James G. Swinnerton, well-known 14, Rue Gaillon, Paris as painter and cartoonist, was recently elected Mezzotints :: 3: :: Etchings president of the famous old Bohemian Club Cable Address of San Francisco, the notification committee POTTIERMAN-PARIS had a hard time breaking the news to him. When finally located in the Painted Desert, Arizona, Swinnerton telegraphed : The Milam Galleries “You are a fine bunch of friends to elect R. LERONDELLE Portraits—Paintings—Etchings a man without giving him a chance to PACKER AND AGENT make any campaign speeches or buy any for the Carnegie Institute, Pittsburgh, the Art Artistic Iron Institute of Chicago, etc. cigars. But, if you have elected me, let it 1142-46 Milam Bldg. go at that and take the consequences.” 76 Rue Blanche, Paris IX San Antonio Texas Cable Address: LERONDELLE—PARIS

THE NEW YORK | WORKS OF ART FIFTEEN GALLERY E SPICTUREEC , PACKED—MOVED-—SHIPPED 37 West 57th Street ‘as pencenes ge EVERY WHERE—FOR EVERYBODY dammed Artists’ Packing & Shipping Co. AGNES M. RICHMOND PICTURE FRAMES ;} 199 West sgth Street, NEW YORK Nov. 25th to Dec. 7th “Artistic Framing Our Specialty” Founded 1886 Phone Circle 1149 16 The Art Digest, rst December, 1929

Snow Clad Mountains and Shining Glaciers of Olden Valley New York Season Norway by Wm. H. Singer, Jr. “They are still cheaper than Modiglianis,” said E. C. Babcock to Henry McBride Mediaeval Cities of Southern France by Walter Griffin when the critic visited the exhibition of paintings by the great American realist, Still Life and Landscapes Thomas Eakins, at the Babcock Galleries, by the Holland Artist and he printed it in the Sun. Eakins is being proclaimed as the Amer- Jacob Dooyewaard ican old master. He died in 1916, and in 1917 he was “found” and two major memorial exhibitions were held, one at the Metropolitan Museum in New York and the other at the Pennsylvania Academy in ALSO UNUSUAL EXAMPLES Philadelphia. Since then several exhibitions by the late have been held in dealers’ galleries. It was HENRY GOLDEN DEARTH not a large display at Babcock’s, but all the critics wrote leading articles about it. “Steadily,” exclaims Mr. McBride, “the prestige of Thomas Eakins mounts. It mounts unaided. No one is campaigning for Frans Buffa & Sons it, but the solidity of the art resists all the disintegrating forces of°time and as the 58 West 57th St., New York mists of other faded ‘reputations gather round it, it appears all*the more permanent Harbor in Winter, Wm. H. Singer, Jr. AMSTERDAM, HOLLAND and indissoluble. The new Museum of Mod- ern Art announces a show of Homer, Ryder and Eakins. Ten years ago such a museum would not have thought of in- cluding Eakins. Now it has to. “The implication is apparently that the art of Homer, Ryder and Eakins provides Metropolitan Galleries a background for the young Americans of today comparable to “the background fur- nished to young Europeans by the paintings OLD AND MODERN of Cézanne, Seurat, Van Gogh and Gau- guin.” PAINTINGS The Babcock show contained, besides the famous prizefight picture, “Taking the rad Count,” a group of remarkable portraits never before exhibited. Helen Appleton Read wrote in the Broéklyn Eagle: English and French Portraits and “Taken as a group they impress again with their profundity, humanity, austerity Landscapes of the 18th Century and integrity. True they have the faults of their virtues and are lacking in joy de vivre, grace and sensuous charm. Lloyd ey Goodrich in his penetrating analyses of Eakins, which appeared in the October Arts, says concerning Eakins’ absence of charm: SELECTED BARBIZON and ‘Indicative of a profound difference in civil- izations is the fact that while France was AMERICAN PAINTINGS blossoming into gorgeous flowers of im- pressionist and post-impressionist painting, we were bringing forth this tart and wintry 578 Madison Ave. New York fruit. But what it lacks jn natural sweetness Opposite American Art Galleries, corner 57th St. it makes up in strong, invigorating flavor.’ “Eakins’ emphasis was always upon char- acter. He never petrified a subject or in- dulged in technical tricks—obvious reasons for his failure to fill the role of society portrait painter. But what amazing revalua- | Uco P. SPINOLA, inc. tions of character he has given us, helped in their authenticity awd conviction by his te draftsmanship, his profound search for form and scientific knowledge of anatomy! Antique Furniture To quote Lloyd Goodrich again: ‘His work Rare Brocades and Velvets Old and Modern Masters and many unusual objects of art in this newly- | imported collection, are suggestive of delight- | Representative ful gifts for Christmas. @RL KLEIN | 143 East 62d Street Paintings by PHOOGRAPHY | New York City famous Artists S BAST SO™- ST. always on NEW YORK CITY VOLunteer 4540-41 CORONA MUNDI view

ROERICH MUSEUM mm. International Art Center Furniture Exhibition of Paintings 41 EAST 572 STREET Dew York from the private collection of Interiors of Homes GEOKGE S. HELLMAN, Esg. 484 N. KINGSHIGHWAY ~/2 Quis December Sth to 31st i | Art Objects, Paintings, Sculpture 310 Riverside Drive The Art Digest, rst December, 1929 17

always had in it the element of a laboratory a good illustration of his merits and defects. sound business organization, it is still able analysis of selected specimens of the real As a design the thing suffers from a redund- to carry on. The galleries are curiously world’.” ancy that often troubled Eakins, a disposi- empty. There is no demand for Academy Royal Cortissoz said in the Herald tion to overdo the details. The crowd in the space among the talented outsiders Tribune: background is filled with portraits. It might despite the very evident willingness the “Certain limitations he had which it is im- have been further synthesized. But what Academy has evinced for letting down the possible to ignore, limitations as a colorist, vivid and even thrilling life there is in the bars. Out-of-town museum officials who in- as a man of imagination, as an interpreter group of three figures that fills the center of vite new talent to their local group exhibi- of beauty. He never achieved quite the fame the stage, the two fighters and their referee! tions no longer visit the Academy to make enjoyed by such contemporaries of his as It was in the profound anchorage of the their selections. La Farge, say, or Whistler, or Abbott eternal verities that Eakins found his ac- “But why do the Academicians not rally Thayer, or Winslow Homer, or A. P. count. He is a master of form and nature, a to the rescue? Why do they not see to it that Ryder. The more recent cult for him pitches convincing celebrant of things as they are.” they have first rate annual Academic shows eulogy in too high a key. But one may recog- * * x made up of the best that remains in Aca- demic circles? Unfortunately the best would nize this and yet feel warm admiration for The Winter exhibition of the National confine itself to the older generation as the him. ‘Taking the Count,’ the big prize-ring Academy of Design had less friends among subject shown on the present occasion, offers the critics than usual. Even the upholder of younger generations of Academicians do not tradition, Royal Cortissoz of the Herald measure up to the standard once maintained. Evidence of the Academician’s increasing Tribune, had this to say: “The winter exhi- lack of interest in the New York institution bition is like so many of its predecessors, It LUSCOMBE CARROLL is the fact that they send pictures which cheers through its broad manifestation of (Established 1898) have gone the rounds of the official shows fidelity to honest workmanship. It depresses elsewhere.” Paintings--Water Colors through the failure of picture after picture * * * of the to place a distinctive and thoroughly inter- nt The critics were enthusiastic in their d- Finest Quality esting accent upon that workmanship. But it praise of Edward Bruce’s exhibition of land- is a mistake to let this circumstance obscure er, 18th Century British Portraits scapes at the Reinhardt Galleries (see repro- the merits of those paintings which detach ductions on another page). The Herald a Specialty ! themselves from the ruck.” Tribune: The primary source of that On the other side, perhaps the worst was pleasure which is to be derived from Ed- THE CARROLL GALLERY he said by Helen Appleton Read in the Brook- ward Bruce’s landscapes lies in the freshness les 28, St. James's Square lyn Eagle, under the title of “The Waning and individuality of his point of view. He Academy”: “Not even the chronic Academy of London, S. W. I. well illustrates the truth that it is possible Telegrams Telephone baiter, who. with every opening protests vo- to be ‘modern’ without any sacrifice of truth Carolling, London _Gerrard 2863 gs ciferously, if not always accurately, against or beauty. These pictures are unmistakably u- the Academy. ring and its supposed dire contemporary and progressive in their spirit. workings against the younger generation and THE Yet they have nothing bizarre in them, noth- he liberal ideas, can find such zest in this oc- ing forced. Fundamentally, they might have he Fine Art Society cupation after seeing the present IoIst ‘ex- been painted by a. convinced traditional- its hibition. The instinct not to hit a fellow ites < 148 New Bond St., London, W. I. on when he is down must assert itself. Judging “Looking at Italy he does not see it in the Established 1876 from appearances, the Academy, as an influ- conventionally picturesque atmosphere. He ‘in ence, is on its last stand even if, due to a sees the countryside, rather, in terms of mass ity FINE ETCHINGS of By Old and Modern Masters including ALEX. REID & LEFEVRE, Ltd. Rembrandt, Durer, Brangwyn, Cameron, McBey, Griggs, Briscoe, Hoyton, Wedgewood, Zorn, Whistler, Brockhurst, Austin MacLeod, Fine Paintings by the ete. “tee Catalogue on Application British and French Modern Masters Caste: Finart, Lonpon la King St., St. James, London

GODFREY PHILLIPS THE LEICESTER GALLERIES GALLERIES Old and Modern Masters Leicester Square, LONDON 43-44, Duke Street, St. James’s, London BEST MODERN ART

REDFERN GALLERY 27 Old Bond St., London, W. I. THE FRENCH GALLERY MONTHLY EXHIBITIONS OF BEST CONTEMPORARY ART Fine Pictures Always on View Pictures Wood Engravings Etchings 158, NEW BOND ST. LONDON WALLIS & SON TURNER MAX ROTHSCHILD INDEPENDENT GALLERY THE SACKVILLE GALLERY OLD AND MODERN MASTERS OLD MASTERS 28, Sackville Street 7a Grafton Street, London LONDON W.1

BRIMO, pt LAROUSSILHE MEDIAEVAL & RENAISSANCE 34, RUE LAFAYETTE DECORATIVE WORKS PARIS 58, RUE JOUFFROY PAINTINGS & OBJECTS of ART (BOULEVARD MALESHERBES) 18 The Art Digest, rst December, 1929 and line that fall somehow into a grave mence and a clarity which preclude any ro- rhythm. The luminosity of the scene, those mantic atmosphere. Color is one of his chief New and Old sparkling effects which betray so many assets.” painters into a kind of superficial glitter, is The Herald Tribune: “His paintings, not what particularly appeals to him. On precise and flat in respect to design, warm the contrary, his Italian impressions are, in with an enamel-like quality of color, treat the matter of light, extraordinarily restrained generally the life and atmosphere of his and quiet, sometimes almost gray. His pre- native Spain. He is not, however, the in- occupation is all with ground forms, their stantaneous recorder of objective facts, but great scale and weight, and the almost a pictorial planner whose designs have some solemn beauty of their contours.” of the coldness of abstract diagrams.”

The Brooklyn ‘Eagle: “Each succeeding * * * exhibition has shown him a more accom- At the Hackett Galleries, Charles Basker- plished painter. The present one, however, ville, Jr., is holding an exhibition of lacquer is remarkable, not so much because it marks screens. The Herald Tribune: “Too often another step forward, but because he has screens are likely to be painted in a highly recaptured the mood of his first period when ornate style or else draw their simplicity painting was first and foremost a medium from the tempting model of the Orient, but for expressing an emotion about life.” Mr. Baskerville solves his own problems without the handicap of the one or the aid Ivan F. Choultse, court painter to the late of the other.” Czar of Russia, is exhibiting for the secord time a large group of his pictures at the * * * Edouard Jonas Gallery, to continue until The Post said of Hayley Lever’s exhibi- Dec. 14. The Sun: “It is the winter snow tion at the Milch Galleries: “Mr. Lever scenes that will always be associated with may be said to be going inland, for his usual Choultse’s name, for in them he achieves themes of the sea and sails are largely re-- effects of realism that go beyond the powers placed by landscapes on Nantucket island and in the town. . . . It is the best work he of mere paint, and the layman often sup- “Greenwich Village Vista.” Tempera has shown in any recent exhibition.” poses them to be illuminated from behind, painting by Glenn Coleman. as they give out so much light. There is a The Herald Tribune: “For years Mr. strong romantic feeling in all the work and Lever has been given a kind of modern Glenn Coleman, whose, work, since he this reaches its height in ‘The Storm,’ which rating among artists, but at the same time will probably be this year’s popular favorite.” he has not lost sight of objective reality. gained Carnegie honors, has been seen fre- x * * So that, if one finds a fine-spirited modern- quently in New York, is showing a group The first American exhibition of Gabriel ity about these pictures it is his. individual of landscapes at the Downtown Gallery, Garcia Maroto, entitled “La Espana Ma- approach as a painter, giving to familiar New York, in a medium he has never tried gica,” is on view at the Delphic Studios scenes the essence of new vitality, that is before—tempera. For the most part they until Dec. 15. The Post: “In Maroto’s work mainly responsible.” comprise whimsical glimpses of famous there is a decided appreciation of the pic- * oe * New York landmarks. It is curious to see modern style essayed in the medium used torial aspects of his country, but these pic- The Post said of Jerome Myers’ group of by the primitives. turesque details are set down with a vehe- etchings and lithographs at the Fifty-sixth Street Gallery: “His color etchings are espe- cially attractive, their flowing linear pattern touched to warmth by a delicate web of Ch.-A. GIRARD color.” The Times: “In ‘The Doorway,’ a Old Frames MODERN PAINTINGS lithograph, stands a baby carriage. Not even Charlie Chaplin could have placed it there Grosvallet more gracefully or contrasted it more sur- 1, Rue Edouard VII, PARIS prisingly with the slums. It has an air.” 126 Bld. Hausmann Paris

MARCEL BERNHEIM & Co. GALERIES E. LUCAS MORENO Modern Masters Importer of Works of Art from Spain FIRST CLASS ANTIQUES AND PAINTINGS 2 Bis, Rue Caumartin PARIS 28, rue de la Victoire Paris

MARCEL GUIOT J. Herbrand J. WATELIN

THE LARGEST SELECTION Old Masters XIX Century French Masters of 31 Rue Le Peletier, Paris 11, Rue Auber, PARIS RARE PRINTS fonsead! see by =a, KNUDSEN Old and Modern Masters CHINESE ANTIQUES 4, Rue Volney PARIS oe 9 Rue Scribe, PARIS vase Mm &@ Eh. Bt oes : GOTHIC AND RENAISSANCE WORK OF ART 32, BOULEVARD HAUSSMANN, PARIS The Art Digest, rst December, 1929 19

an example of which is herewith reproduced. A Spaniard De Creeft began as an apprentice in a A Tavern Sign bronze foundry at Barcelona. Going to Paris he came in contact with Picasso, Guillaume Apollinaire and other art revolutionaries, and eventually became a prominent exhibitor at the Independents, the Salon d’Automme and the Salon des Tuileries. He was a mem- ber of the jury of the International des Arts Decoratifs Modernes. Barbizon Prices Several Barbizon paintings of good quality were in the collection of miscellaneous pictures dispersed on November 15 at the American Art Galleries, New York. A feathery “Ville d’Avray” by Corot, 20% by 32 inches, brought $4,000; a charming “Hay- stack by Moonlight” (18 by 21) by Cazin brought $2,450, and “Vue de Treport” (24 by 29), another moonlight by the same artist, sold for $2,500. At the height of the Barbizon school’s popularity in America these three canvasses would have brought at the American Art Galleries, respectively, nc eb ane peat: $10,000, $6,000 and $6,000. A 30 by 45 meadow landscape painted by New England Tavern Sign (about 1830). Inness two years before his death, “The Coming Shower,” a Montclair subject, was “Caesar Vallejo.” Portrait in Beaten Lead Some talented young carriage painter bought by the Milch Galleries for $8,100. by José de Creeft. about the year 1830 painted this “Early New England Tavern Sign” for the “Washington he Art and Marksmanship José de Creeft, Spanish sculptor who House” at Ashburnham, Mass., a _ place fre- married a Seattle girl, and who recently ex- If any of New York’s racketeers, who are where good “licker” was sold to the towns- oup hibited there, is having his first New York said to reap a $200,000,000 harvest each year, people and where passing strangers were feels disposed to raid the Metropolitan Mu- ery, exhibition at the Ferargil Galleries. He is accommodated. The tavern was built by ried seum he would do well to think twice. The Capt. Silas Whitney in 1829. At that time one of Europe’s younger artists, and is a hey attendants (day guards) and the night signs were invariably painted at the carriage follower of the school called “taille directe,” lous guards have been taught to shoot and to maker’s. Years afterward the sign was see which believes that true sculpture is form shoot straight. Recently picked teams held found in an old barn near Ashburnham, It ised hewn from a fundamental block rather than a tournament, and the attendants won with a passed into the collection of Col. J. Philip form built up tentatively with clay. In the score of 444 out of a possible 500 points. The Benkard of New York. He died and his 44 works Sefior de Creeft shows he em- night guards scored 429. The director, Ed- notable collection of Currier & Ives prints || ploys granite, stone, marble, ivory, ebony ward Robinson, presented the trophy and was dispersed the other day at the American and various other woods, besides beaten lead, made a speech. Art Galleries. The tavern sign brought $700.

PAUL GUILLAUME Sambon Galleries First Class Paintings by pad RENOIR, CEZANNE, MATISSE, 7, Square Messine, Paris PICASSO, MANET, SEU RAT, DOUANIER ROUSSEAU, SOUTINE, MARIE LAURENCIN, FAUTRIER Classical, Medieval & Renaissance W orks of -Art GOERG, UTRILLO, MODIGLIANI DERAIN FINE PIECES Old Masters OF ANTIQUE NEGRO ART 59, Rue La Boetie, PARIS ALFRED SAMBON Works of Art 5, Quai Voltaire, Paris

RICHARD OWEN NAZARE-AGA French 18th Century Drawings PERSIAN ANTIQUES 1§, Quai Voltaire, Paris 3, Avenue Pierre I= de Serbie. PARIS ART GOTHIQUE | BIG NOU L. CORNILLON J. Poty & Co. FIRST CLASS PAINTINGS 21, Quai Voltaire Paris 8, Rue La Boetie, Paris su oSLiL Galerie Th. Briant ZBOROWSKI GALERIE PIERRE Modern Paintings by Braque, Picasso, Derain 26, rue de Seine, Paris Soutine, Utrillo, ete. Bompard, Céria, Coubine, Sigrist, MIRO, BERARD, TCHELITCHEW Boshard, Léopold, Levy, etc. Modigliani—Soutine—Kisling—Derain Ebiche—Beron—Th. Debains Sculptures by Giacometti 32, Rue de Berri Paris aris VIII. | Richard—Utrillo 2, rue des Beaux-Arts (Rue de Seine) PARIS K& ee 20 The Art Digest, rst December, 1929

| In the Realm of Decoration and the Antique |

Philadelphia Gets a Gothic Hunting Lodge Brooklyn’s Show _ Belated maybe, but always in time, the a Brooklyn Museum will open on Dec. 3 a section of American rooms which will occu- py a floor of the new east wing and extend into the central section of the older struc- ture. Nineteen “early American rooms” will be shown “in an entirely new manner.” Some laurels may slip from the Boston Mu- seum, the Philadelphia (or is it Pennsyl- vania?) Museum, and the Detroit Art Institute. A Honolulu Surprise Think of it! An exhibition of early American art in Honolulu! The Academy of Arts conceived the idea, for the benefit especially of the school children. It sent out a call, and there came scores of objects from Honolulu homes, which will be shown until Dec. 12. There are, among other things, according to the Star-Bulletin, “an old pot, a crane and kettle, an early armchair with rockers, two side chairs, ladder back chairs, rush lights, Betty lamps,.a candle mould, a Paul Revere lantern, a foot warmer, an old bellows, and a spinning wheel.” Americana follows the flag!

Room in French Gothic Hunting Lodge, as It Will Appear in the New Pennsylvania Museum. Tue Art Dicest’s New York office will gladly assist readers in locating any desired antique object, or in solving their problems A complete French Gothic room radiating , constitute one of the most important features of decoration. the stirring atmosphere of the Hurdred of the Medieval section. Years War has been given to the Penisyl- “With the increasing strictness in the nreservation of historical monuments in vania Museum of Art by Mr. and Mrs. France,” said Fiske Kimball, the director, “it Wharton Sinkler. It was removed from a is rarely possible to find today even single “gentilhommerie,” or ;shooting lodge, near elements, such as doorways, of the Gothic BRUMMER Le Mans, and will soon be installed in the period. This room, however, is complete south wing of the museum, where it will with wall paneling, doors, windows and a GALLERIES hooded chimney piece. Fven a tile floor and a painted ceiling of heavy timbered oak heams are included. Fine wrought iron can- |The Little Gallery delabra and andirons will give a masculine note to the room, for a ‘gentilhommerie’ was 29 West 56th St., New York a shooting lodge, to which a king or noble- W orks of cArt man retired with his intimate friends from A unique center in New York the official life of a court.” for the selection of unusual Restoration of the room has taken much study and research, since it is difficult | Gifts to find Gothic chambers not altered to meet the new fashions of arch‘tecture 27 East Fifty-seventh Street Handwrought Silver and introduced from Italy during the Renais- New York Jewelry—Imported Linen sance. While the Cluny Museum in Paris and Glass—Pewter and has several rooms that still give something 203 Bis Bd. St. Germain, Paris Porcelain. of the romantic atmosphere of the XVth century, it is only in the remote and ruined chateaux, far from the railroads, that frag- ments of interior architecture may still be found. RALPH M. CHAIT | | ANTIQUE BROCADES | 500 Mapison AVENUE | WORKS OF ART PLASTER CAST NEW YORK STUDIES t Send for Tllustrated Catal »¢ 144 paces, $1.00 Ancient Chinese FLORENTINE ART Alphonse LZ. Lovencon PLASTER CO. Works of Art 2217 Chestnut St.. Philadelphia | 578 Madison Ave., New York | Dealing in Chinese Art. Since 1910 Plaza 3769 C. CHIANTELLI & CO. EXPERTS: Accredited by Great Museums | PaRIS MONTE CaRLo .. and Connotsseurs | Restorer of Any Valuable Object of Art CATALOGUERS of many Famous Collections Paintings Relined for the Trade 72 TEXINGTON AVE. NEW YORK rT The Art Digest, rst December, 1929 21

Antiques Among the Print Makers

Print International conditions seem to have obliterated to a --. -Kor a Potter largé extent the racial characteristics’ which the Twenty nations are represented in the formerly distinguished the different national 3a vast Second International Exhibition of schools. At all events, such distinctions as >cu- Prints at the Print Club of Philadelphia. are apparent in paintings owe their being to fend More than 500 etchings, lithographs, wood other causes than the difference of race be- ruc- blocks and prints in other media were sub- will mitted. Room could not be found for all of tween their makers. Painting, like many er,” them, but the display presents a finer show- other things, is becoming standardized, an Mu- ing of black and white, according to Francis inevitable result of closer communion. be- syl- J. Ziegler in the Record, than has ever been tween the various nations, gratifying politi- Art afforded to Philadelphia. “Not only do the cally, but somewhat regrettable from the individual exhibits rank high,” said this aesthetic viewpoint. critic, “but there is infinite variety for our “This, however, does not seem to be the delectation.” case where prints are concerned. The various Mr. Ziegler wrote before the exhibition groups in the show under consideration bear opened, and it is too early to give a resume arly little resemblance to each other. The of critical opinion on the show, which will my Egg Shell Porcelain Bowl. be deferred until the Mid-December num- national groups are sharply differentiated. efit ber. The countries contributing are: Aus- “Just why national characteristics should ent The Metropolitan Museum, New York, is tria, China, England, Germany, Hungary, be more in evidence in prints than they are ects holding (until Jan. 19) a memorial exhibi- Japan, Poland, Russia, Belgium, France, in paintings is a nice question. It may be wn tion of the pottery of Adelaide Alsop Robi- Greece, Holland, India, Italy, Mexico, Nor- that black and white is a more direct method 1g5, neau, who died at Syracuse on Feb. 18 at way, Scotland, Spain, Sweden and the United of communicating visual ideas than paint pot, the age of 64. Besides her pioneer services States. and canvas. Perhaps a print is more spon- vith to her craft, she was, with her husband, “What makes this assembly of prints par- taneous than a painting.” irs, S. E. Robineau, the founder of the maga- ticularly fascinating,” said Mr. Ziegler, “‘is la zine Keramic Studio (called Design since its astonishing variety, much greater than Tue Art Dicest’s New York office will old 1924). Her work is characterized by fineness one might expect to find in a collection of and delicacy. Many of her best pieces have paintings from these countries. gladly look up any print desired by a reader. been lent for the exhibition. Joseph Breck, “So far as painting is concerned modern Address: THE Art Dicest, 9 East 50th St. curator of decorative arts at the Metropoli- tan, pays tribute to her in an article in the museum’s November Bulletin. Concerning a ell A SPECIAL OFFER certain piece he writes: red “The egg-shell porcelain bowl in the col- ms lection of this museum—as imponderous as an apple blossom, with its lacy openwork and delicate relief carving—is a masterpiece I | of which any cerathist of any age or any country might well be proud.”

Quoth Poor Richard The following imitations of “Poor Rich- ard” by Florence Woodward were printed in the Boston Transcript: “It’s a long lane that has no shoppe.” “People who live in glass houses should hide their Stiegel.” “Never look a gift antique in the worm- hole.” “It’s a wise highboy that knows his own father.” “None are so damned as those who won’t sell.”

Ford Gets London Giants Henry Ford has .despoiled Cheapside, London, of its most picturesque relic—the ancient outdoor clock flanked by effigies of Gog and Magog, the traditional London giants, according to dispatches to the Phila- '| I delphia Public Ledger. For two centuries “A STAG AT SHARKEYS’”’ the group occupied an alcove above the fam- Lithograph by George Bellows (23 10/16” x 18 10/16") ous watchmaker’s shop of Sir John Bennett. This famous lithograph, considered by the experts as Bellows’ masterpiece, is exceedingly rare. The last obtainable example SERGE ROCHE has been paid $3,000. THE FINEST COLLECTION OF Printed on Japan paper and signed by the artist, the proof Old French Frames reproduced above is in perfect condition and its printing is 4, Rue Victor-Masse, Paris exceptionally good. It 1s offered for sale to the readers of THe Art Dicest. THE ANTIQUE SHOP 45 Mecuanic St., Fitcusurc, Mass The first receivable offer will be accepted by its owner, Melle Call at our new location. Extensive and rare collection of real Antiques. S. Royer, c/o Tue Art Dicest, 26 rue Jacob, Paris VI. H. and S. E..H. SAFFORD 22 The Art Digest, 1st December, 1929 Among the Print Makers, Old and Modern ‘|

$20,000 for Print Modern Artist Revives Old Time Humor

A total of more than 700,000 gold marks (about $175,000) was obtained at a sale of old engravings and drawings at Boerner’s in Leipsig. The highest price was 80,500 marks (about $20,000) for a beautiful early state of Rembrandt’s large etching, “The Three Crosses,” a record price. An excep- tionally well-preserved set of twelve of the “Cries of London,” in colors, after Wheat- ley, brought 46,000 marks ($11,500). Other interesting prices were 27,000 marks for Durer’s “St. Eustace,” 17,825 for Durer’s “The Knight, Death and the Devil,” and 15,525 for Debucourt’s “Les Deux Baisers.” Another Etching Film A moving picture illustrating the making of a drypoint by Frederick G. Hall, was shown at the opening, on Nov. 20, of the Boston Museum of Fine Arts’ exhibition of drypoints and etchings from their beginnings in the X Vth century to the present, to con- tinue through Dec. 10. The film is the second in a series planned by the museum to dem- onstrate the processes of the various arts, the subject of the first one being the making of an etching by Frank W. Benson. The picture presents in clear and logical sequence the various technical details which differentiate drypoint from all other print processes. Even the minute metal shavings which form in front of the tools are clearly put upon the screen and the character of the lines left by their removal is brought out by close-up views of the plate. The two films are available for museums and schools. “An Appearance of Airiness,” by Gordon Ross.

Etching Show in Honolulu When William Edwin Rudge brought out Owen Culbertson wrote in the introduction Honolulu had a treat in November at not long ago a reprint of Geoffrey Gam- to the reprint: “I feel confident that the the Academy of Arts in a double exhibition bado’s “An Academy for Grown Horse- two plates by Gordon Ross will be of etchings—11 portrait heads by Cadwal- men,” two modern color prints by Gordon held by all to be equal in every way to lader Washburn and 19 architectural sub- Ross were included which were received those of the author (Geoffrey Gambado), jects by Louis C. Rosenberg. Hawaii with so much enthusiasm that the firm has and far superior in their delineation of the especially likes Washburn, and his remark- now made them available in larger size and horse. Mr. Ross has an identical sense of able head of a Marquesan cannibal. in a limited and signed edition. humor with that of Bunbury.”

“ Currier & Ives Sale MASTERS IN ART” At the dispersal of the Benkard collection THE FINEST COLOR PRINTS FOR PICTURE STUDY AND ART APPRECIATION of Currier & Ives prints at the American These full Color Prints are in a miniature size for notebook illustration and a larger one for class demonstration. Loose-leaf Instructors’ Texts offer com- Art Galleries in New York the highest price plete data for every print. Color Prints and Texts may be selected in any quantity. was $1,600, paid by T. Radcliffe for “The 218 Color Miniatures (3%x4¥%) only 2 cents each Life of a Hunter—A Tight Fix,” a grizzly 36 Historic Designs (4 in. x 6 in.) only § cents each 254 Instructors’ Texts only 2 cents each bear subject. “Winter in the Country—Get- 200 Museum Prints (8 in. x 10 in.) only 50 cents each ting Ice,” brought $850; “American Frontier Free to Educators and Artists: Prospectus describing all publications Life—On the War Path,” $875; “The Rocky and Specimen Color Prints. Mountains—Emigrants Crossing the Trail,” Brown-Robertson Co., Inc. 4 M@disen Ave. 302 Palmer House Shops New York Chicago $875. Total for the 395 items was $390,085.

|. B.NEUMANN Gordon Dunthorne UNIVERSITY PRINTS 1726 CONNECTICUT AVENUE LIVING ART WASHINGTON, D. C. FOR ART STUDY / NEWYORK ETCHINGS Schools, Colleges and Clubs and Early English Furniture 4,000 scholarly selected art prints covering the history of Art throughout the ages in Architecture, Sculpture and Painting. MABEL ULRICH’S TRENT ENGRAVING CO. Catalogue and suggestion lists BOOK AND PRINT GALLERIES [Cut makers to THE Art Dicest] sent on request Books—rare and usual Specialists in ETCHINGS AND OTHER PRINTS. IMPORTATIONS FINE HALF TONES MINNEAPOLIS...... ccccsccssccseees 1200 NICOLLET UNIVERSITY PRINTS ST. PAUL,..ccccccccccccccccsccceces 4th and CEDAR for Artists, Art Dealers and Publishers KOCHESTER. ..ccccccccccccccccccs 21 ist Ave., S.W. Your inquiry solicited Box J NEWTON, Mass. eceecccesccvccsecevecsesoes 9 SUPERIOR ST. 223 S. WARREN ST., TRENTON, N.J. The Art Digest, rst December, 1929 23

| In the Realm of Rare Books and Manuscripts

~ Vollbehr’s Library The “Colophon” Johnson Catalogue At last America is to have a magazine Dr. Otto H. F.° Vollbehr’s library of devoted to rare books and manuscripts. It A catalogue of the greatest Johnsonian XVth century books, comprising 4,500 vol- will be called the Colophon and will be library in the world, “The R. B. Adam umes, only one of which was printed as late published quarterly, according to announce- Library Relating to Dr. Samuel Johnson as 1500, and said to be the finest collection ment made from the office of Elmer Adler, and his Era,” is now being printed in Buf-. in private hands, will go under the auction 229 West 43rd St., New York. It will deal falo, in an edition of 500 copies, and will hammer next spring either in London or with first editions, fine printing, incunabula, be published in America by the Oxford Berlin. Before the sale Dr. Vollbehr intends association books, Americana, bibliography University Press. It will include three vol- to issue a catalogue of the collection, which and manuscripts in a dignified manner. Book umes in octavo, with over 800 facsimile will probably become a standard work on illuStration will receive special attention. title pages, letters and illustrations. The books of the XVth century. As the-magazine will in ifself be a fine piece The library will be sold in Europe rather collection was originally formed by Robert of printing and editing, its éditions will be than in New York because Dr. Vollbehr B. Adam and has since been preserved and limited to 2,000 copies. greatly augmented by R. B. Adam 2nd, the thinks more European dealers are interested The Pynson Printers will print the in incunabula and are less likely to come:to present owner. Colophon. The contributing editors are America to attend the auction than are “The original catalogue of the collection Elmer Adler, Thomas Beer, Pierce Butler, American dealers to go abroad for such W. A. Dwiggins, John C. Eckel, Burton was printed in 1921,” says the New York an event. Besides, European countries if World. “Mr. Adam has now, after years of Emmett, Frederick W. Goudy, Ruth S. which nationalism runs high are particularly Granniss, Belle Da Costa Greene, Dark labor, compiled a much fuller catalogue ex- eager to obtain these rare works from their Hunter, William M. Ivins, Jr., Henry W. tended to three volumes. Of these the first is early presses. devoted to letters and other manuscripts “Decision to sell his library,” said the Kent, Rockwell Kent, Christopher Morley, by Johnson, Boswell, Edmund Burke, New York Times, “has been reached by Dr. Vrest Orton, Bruce Rogers, Carl Purington Rollins, George H. Sargent, Gilbert M. Joshua Reynolds and David Garrick; the Vollbehr after failing to find an American philanthropist willing to join him in pre- Troxell, D. B. Updike, George Parker Win- second to books by and about Johnson and senting the collection to the Library of ship, John T. Winterich. The first issue will Boswell; the third to miscellaneous auto- be mailed in February. Congress or some other great public library graph letters. in this country. Dr. Vollbehr announced that “Of the first volume the outstanding fea- he would present half of the collection if Another Auction House ture is the wonderful collection of Johnson’s some one else would buy the other half letters, which in both quantity and quality New York is to have another book auction for $2,500,000, and present it also. far outdoes any public or private collection “One of the most significant items in the house.’ Following the merger of the Ameri- that has been or is likely to be formed. It is can Art Association and Anderson’s, comes library is a copy of the Gutenberg Bible on especially rich in very early letters and in- the announcement that the Plaza Art Auc- vellum, one of three known vellum copies in tion Rooms have opened a book department cludes with one exception, the whole series perfect condition. A paper copy was sold at under the management of Kennard McClees, of Johnson’s letters to Edward Cave, writ- auction here in 1926 for $106,000. who for several years was connected with ten in the early days of Gentleman’s Maga- “Breaking up his collection will cause him the American Art Association. The new zine. pain, Dr. Vollbehr said, but he had no house will perhaps occupy a position in “The letters of Boswell include a remark- alternative. The library represents his life New York similar to that which Hodgson’s 4 able series to Malone on the progress of work and fortune. While he started book holds with regard to Sotheby’s in London. ion | collecting. as a hobby, it gradually got the The Bibliographer of the Boston Tran- the ‘Life of Johnson.’ Among the manu- the better of him. He could never resist the script writes: “Now that the two large scripts other than letters, may be mentioned opportunity to buy a new book and as a auction houses have combined, the field has the two drafts of the plan of a dictionary, to result had become ‘book poor.’ He would been left open for another which should one in Johnson’s autograph, the other cor- lo), like to build a library for the collection handle a cheaper class of books than the rected by him. the which would make the books available to $1,000 books the auctioneers are so anxious “The collection of Johnsoniana books has of to obtain. It is believed that books which the public, but was unable to do so. If he many remarkable features. It is comprehen- adhered to his original intention of present- can be sold at auction for as low as $10 can be profitably handled by this new de- Sive, including not only the well known first ing the entire collection to a public library partment. The establishment of a market editions but also very many rare pieces, or university, he would be poor and have ion for such books is greatly to be desired, and important editions later than the first, and nothing to leave his family.” -an while it is not understood that there is to books to which Johnson contributed a ‘ice be any war between the two houses in the preface or a dedication.” “he Rare Book Concern Moves matter of commissions, the new house may zly be able profitably to handle, as a department The Rosenbach Company of Philadelphia et- of its general business, a class of books and New York has moved its rare book and which would not pay for expensive cata- Tue Art Dicest’s New York office will print rooms from 273 Madison Ave., to 15 loguing and advertising. Collectors and search for any rare book or manuscript a East 51st St., New York. dealers alike will watch the experiment. subscriber may want. Address: 9 East 50th Street. Kipling’s Checks COLONY BOOK SHOP “When Rudyard Kipling was living in Current Books Rare Books Brattleboro, Vt.,” says the Christian Science THE BRICK ROW First Editions Prints Monitor, “he paid his accounts about town, even the smallest, by check. He soon noticed BOOK SHOP, Inc. Book Reviews Sent on Request that his bank statement showed a much 26 East 61st Street NEW YORK larger balance than his checkbook, and this Rare and Choice Books, continued for several months. The bank New and Old could not explain it, and Kipling began to Association Items, FIRST EDITIONS, E wonder. One day he happened in the office BOOKS, AUTOGRAPHS f of an attorney friend, and there on the wall Autographs, etc. was one of his small checks framed! Upon MANUSCRIPTS investigation, he found that the local mer- Catalogues on Request [Catalogues Issued] we chants were selling his checks to autograph JAMES F. DRA Inc. 42 East sorn St. New York $ 14 W. 40 St., N. Y. C. collectors for considerably more than their face value! Oh, for Kipling’s reputation!” 24 The Art Digest, rst December, 1929

The News and Opinion of Books on Art

spirit which they inevitably displayed against “A Pot of Paint” the direction contemporary civilization had Modern France taken, they remained a small, somewhat Taking his title from Ruskin’s famous In view of the legion of painters now isolated and reacfionary fraternity.” attack on Whistler for “flinging a pot of practising in France and the vast amount of paint in the public’s face,” John Rothenstein work they are turning out, an author writing has brought together critical considerations Mr. and Mrs. Arms’s Book on French contemporary art must neces- sarily face much the same problem that con- of the work of ten painters who attained As a result of their visits to France, Flor- prominence in England during the last de- ence Noyes Arms and John Taylor Arms fronts THe Art Dicest—selection and se- vere condensation. This is the task that cade of the XIXth century, (“A Pot of have written “Churches of France” (The Maurice Raynal undertakes in his “Modern Paint”; Covici, Friede, New York, 216 pp. Macmillan Co., New York; $20). The text French Art” (London; Duckworth; 42s.). Illustrated; $3.50). Besides Whistler, the is by Mrs. Arms and is illustrated with 51 The London Times, reviewing it, says: book includes Walter Greaves, Philip W. reproductions of etchings and drawings by “M. Raynal in the volume which has been Steer, Walter Richard Sickert, Charles Mr. Arms, one of America’s foremost etch- excellently translated by Mr. Ralph Roeder, Conder, Aubrey Beardsley, Charles Ricketts, ers and president of the Brooklyn Society Charles H. Shannon, William Rothenstein attempts to survey French painting ‘from of Etchers. The book is not an architectural the birth of Fauvism in 1906’ to the present and Max Beerbohm. study, but an informal account of each of day, but curiously enough he leaves out of “The author,” writes the New York the churches—an account which includes Times reviewer, “is a son of William Roth- his selected list of representative artists M. something of the history, something of the Henri Matisse, who is generally regarded as enstein and has the background of his legends and something of the people whose father’s critical opinions as well as his more responsible for the invention of that lives*were and are bound up with these knowledge of the period discussed; and he ‘wildly primitive’ style known as Fauvisme ancient edifices. Here pictured and described has been the intimate friend of most of the than anybody else. M. Rouault is also a are fully two score churches and cathedrals other painters considered, so that his writ- notable absentee from the author’s list, but in their settings of city and village—Notre ing about these men has the importance of otherwise his book presents a fairly enough a certain authoritativeness as well as a Dame, Amiens, Chartres, Mont St. Michel, typical representation of the more advanced lively interest and an informative value. and others less famous but no less inter- styles of paintings. esting. Of course he knows that the group of “According to M. Raynal, painting is " artists labeled ‘of the nineties’ never pos- Mrs. Arms in her foreword writes: ‘essentially an art of plastic hypothesis.’ sessed a conscious solidarity. Coming into “When I write of France it is from a per- But the question as to what painting has n prominence before the middle eighties, in- sonal point of view, based on our own ex- actually gained by relegating representative Nn periences and our reactions to them. At one qualities to the dust bin is made no clearer s deed, were certain artists whose work was end of the scale is the pure exquisiteness of in this than in any other book on the subject. of great importance, yet who failed to Gothic architecture and at the other the With reference to the works of Picasso, we dominate the scene. Nor were they espec- little contacts and incidents of everyday are told there are three kinds of form— ially characteristic of it. Protesting with the life.” ‘The crude forms of nature, the forms elaborated by geometry, and finally the Applegate’s Book forms emancipated from either restriction by art.’” Figure Frank G. Applegate, well-known Santa Fe painter and sculptor, has brought out “In- Early American Costume dian Stories from the Pueblos” (J. B. Lip- Construction pincott Co., Phliadelphia ; $3.50), a group of “Valuable alike to the general reader and by Alon Bement, Directorof the Art Center, 17 Pueblo Indian legends and tales, illus- the artist,” says the New York Times of New York City trated by many drawings in color by such Edward Warwick and Henry C. Pitz’s book, Indian artists as Awa Tsireh and Julian “Early American Costume” (New York; Martinez. Witter Bynner writes in the fore- The Century Company; 319 pp.; illustrated word: by the authors; $4). “It comes at a time “These are narratives of childlike faith, when a new work on this subject is much devout adventure and humorous encounter needed. For during the last quarter of a on the part of a folk as enchanted in their century the rich results of historical re- way as ever was Jack the Giant-Killer or search have had an important influence on Br’er Rabbit and yet a folk living real lives the study of the development of costume. among us grown-ups in New Mexico and “These authors have taken advantage of Arizona, to the delight of artists and tour- this new material and their book in con- ists and to the despair of the Indian Bureau. sequence holds a fresh and interesting view- Not only is Mr. Applegate a familiar in point. First they stage the European back- the Tewa villages around his home town, ground of the first colonists, social, econ- Santa Fe, but months at a time he has omic and political, in a few rapid pages lived in Hopi villages, studied and revived and then take up the several colonies, show- Hopi art among the native pottery-makers, ing their evolution out of that background. L a painted Hopi persons and ceremonies and In each colony and also on the frontier, listened meanwhile to such stories as he has down to and during the Revolution and the Figure Construction is based on the prin- caught for us in this volume.” early years of the republic, they describe ciple that the rapid execution of each in detail all the varieties of costumes.” stroke will produce skill and technique in much less time than the laborious and painstaking method so often used. Each idea was thoroughly tested with A Comprehensive Assortment of A GENIUS! life classes at Columbia University under the supervision of the author. ART BOOKS JOAN MANNING-SANDERS is 16 years old Figure Construction has been endorsed for the by the leading artists, teachers of art, “DRAWINGS AND PAINTINGS” and educators in the country. Artist - Teacher - Student has just been published, describing her 124 pages; more than 75 illustrations; work, and with 32 full page plates. list price, $2.50 The Ideal Gift $9.00 SEND NO MONEY His, Mail this this Co Coupon List Sent on Request Your own bookseller or GREGG PUBLISHING CO., 20 W. 47th St., New York, N.Y. WILLIAM EDWIN RUDGE Please send me “Figure Construction.” I will SCHNEIDER & CO., Inc. Publisher pay postman $2.50 on arrival. 475 Fifth Avenue POE idea kouubegantiunssebeensdiponaumhscckban 123 W. 68th St. New York City New York PEERING. ncn cincontndeeccénnowenccncesces AD 12.29 The Art Digest, rst December, 1929 25

|. A Review of the field in Art Education

jects of luxury which were so characteristic recently turned over to the French National ’ Rich and Poor of the wealthy patron of the arts filled no Museums Philippe de Champaign’s cele- place in the ordinary private life of the brated portrait of Mazarin, now at Ver- Sir H. Llewellyn Smith, in an address to mass of the people, and those kinds of art sailles, also gave much money to re-equip the students of the Central School of Arts production only survived for them in the the large lecture hall at the Louvre. As a and Crafts, London, asserted that any stand- satisfaction of various forms of collective result the Ecole du Louvre this year will ard of art that depended on exchange value and public demand... . give more courses to a larger number of must necessarily result in an art of luxury The present swing of the pendulum was students. —a rich man’s art. Nevertheless, the art away from decoration towards simplicity, “For the nominal sum of 100 francs, with value of a work was measured by the in- and he gladly recognized that this reaction a few slight extras, pupils and auditors may tensity of its power to arouse noble emotion, against the overloaded ornament of Victor- avail themselves of the extraordinary facil- and this power could be exerted by things of ian days had in the main been a wholesome ities of the Ecole du Louvre and its brilliant low as well as high cost. een reaction. It had rid them of the pestilential teaching staff. The bulk of the instruction The London Times paraphrased his ler, idea that decoration might be used to hide is conducted by eminent professors taking speech: The students must not live in a ‘om defective workmanship and structure, and their classes through the rich collections of world of illusions. There was no reasonable ent it had taught them the restful enjoyment the Louvre and other museums. The school hope that within any space of time that of to be obtained from plain unadorned forms aims particularly to recruit students of high need be taken into account the great mass and spaces. promise and teach them the technique of of people would be able to supply their daily | as Nevertheless, the movement away from curatorship and all the expert business of needs from the products of the artist crafts- hat decoration was, he thought, too negative to administering a great art institution. Last me man. Still, the artist craftsman supplied a be final. He was convinced that there was a year the school complied with several re- Ea fundamental need, and gave life and stimu- very widespread and deeply rooted craving quests from the United States for persons lus to industry by showing the capabilities but for decoration which could be guided into to fill important posts. of new materials, processes, and methods of igh right or wrong channels, but which could “The general courses in this school may treatment, and by initiating fresh move- ced be taken up by any one over 16 who gives ments in design and craftsmanship. not be suppressed without leading to a gen- eral revolt. Yet, as serious art students, they proof of capacity and seriousness. The latter If they ignored or belittled the art of quality is important because the study of had to remember that art endured longer sis. cheap things they condemned the mass of aft history and the technique of mttseum than any style or fashion, and that it was has. mankind to permanent exclusion from the and excavation requires intense application.” their business not to be obsessed by any Hive means of possessing beautiful, things. They rer stood in fact at the dividing point between transient movement, but through them all to Tue Art Dicest’s offer of a 7-months “aristocratic” and “democratic” art. The ob- discern and keep grip on the eternal un- subscription to art students for $1.00 has derlying truths which held good to-day, been taken advantage of by hundreds. Any yesterday, and for ever. student obtaining 10 such subscriptions will receive the magazine free. The Louvre School TALKS The Ecole du Louvre, much attended by AND CRITICISMS ON American students in Paris, entered its 49th year this fall with enlarged facilities, partly MODERN ART due to the aid of several New Yorkers. E. AMBROSE WEBSTER May Birkhead writes in the New York Times: 99 PERRY STREET - NEW YORK CITY TEL. WATKINS 3254 0k, “Walter G. Mortland of New York, who Personal Instruction in Wood Carving ited for Juniors, Amateurs and ime Professionals Day and Evening Classes uch The Pennsylvania Academy of the Fine Arts 241 FULTON ST. AT CLARK ST. | BROOKLYN, N.Y. | THE OLDEST ART SCHOOL IN AMERICA FACULTY OF EMINENT ARTISTS IFORNIA SCHOOL The SCHOOL IN PHILADELPHIA opens its 124th season October 7th. Registration at any time after September 15th. on- ARTS 2? CRAFTS ew- INCORPORATED The’'COUNTRY SCHOOL AT CHESTER SPRINGS, PA., is open throughout the year. ck- Registration at any date. Out-door Sports—Swimming Pool, etc. IN DELIGHTFUL CALIFORNIA on- INSTRUCTION : Drawing, Painting, Illustration, Mural Decoration, Sculpture. ges AN ACCREDITED ART SCHOOL offering courses— leading to the Bachelor’s degree—in Fine Arts, Ap- EUROPEAN TRAVELLING SCHOLARSHIPS w- plied Arts, and Art Education. Send for illustrated booklets of each School. ind. SPRING TERM OPENS JANUARY 6, 1930 ier, Write F. H. Meyer, Director, for catalog For Country School address For City School address the Broadway at College Ave., Oakland, Calif. D. Roy MILLER, Res. Mgr., ELEANOR FRASER, Curator, ribe Chester Springs, Pa. Broad & Cherry Sts., Philadelphia, Pa.

DESIGNERS ART michel jacobs School for Professional Training in Fine Arts and Desi L. Frank, J. G. Cowell, Directors european-african Register Now for Evening and Satyrday Afternocn Classes Register Now Send for catalog D painting tour 376 Boylston Street, Boston, Mass. To France, Spain, Morocco, Algeria, Italy. Six months tour, from 00 May 22 to November 7, 1930 all expenses paid, including tuition, $4§00.°° APPLIED Send for Illustrated Booklet A. J.

INTERIOR DECORATION COSTUME DESIGN metropolitan art school, 58 west 57th st., new york HANDICRAFTS TEACHER'S TRAINING CEORCE W. MORRISON, DIR. Michel Jacobs, director and author of the Art of Color, Study of color, Art of Composi- tion. A simple application of Dynamic Symmetry. Individual instruction, Life Portrait, ={ SCHOOL OFART .. Poster, Fabric Design, Costume Design and Interior Decoration. Send for Catalog D ee 729 BOYLSTON VT. BOSTON. IMAL. oat CATALOG ON REQUEST: 26 The Art Digest, rst December, 1929.

— 9 SCHOOL OF THE DAYTON A School’s Growth oe Pen te aos ART INSTITUTE Started on faith and $250 of capital five ILLUSTRATION, COMMERCIAL ART, LIFE, Tenth Year years ago, the Chouinard School of Art, Franklin Booth ‘Thomas Pogatty Full-time four-year courses in Painting, Sculp- Los Angeles, has developed so rapidly that Norman Rockwell Gordon Stevenson ture, Design, Commercial Art and the Graphic on January 1 it will move into a new build- Walter Beach Humphrey Arts. Night Classes in above courses and Metal J. Scott Williams, others Arts. ing, erected at a cost of $76,000. The school Enroll Now Booklet L on Request Special College Credit Courses in affiliation was founded by Mrs. Nelbert M. Chouinard with Wittenberg College: to take care of the overflow of students Commercial Illustration Studios from the Otis Art-Institute, which previous Faculty of well trained young men who are ALL BRANCHES OF COMMERCIAL ART practicing professionals. to the construction of its new wing was taught by experienced artists. Individual instruc. SIEGFRIED R. WENG, Director crowded to capacity. The Los Angeles tion. Modern and practical method. Day and Circular of information on request to the Times tells the story of her success: evening classes. Moderate Fee Register Now! DAYTON ART INSTITUTE “With $225 of her slender capital she Suite 409-A, Brentano Bldg. Forest & Riverview Aves., Dayton, O. leased the present house at 2606 West 5 1 West 47th Street, New York City Eighth street. The remaining $25 she in- REGISTER NOW! Save a Half Year vested in advertising. The faculty of Otis The Traphagen School of Fashion Parsons Art Institute aided her by directing students to the new school. Mrs. Chouinard secured Intensive Winter and Summer Courses N. Y. School of Fine & Applied Art Special Classes planned for Teachers The Original School of Interior Architecture and good instructors and put.in practice the All phases from elementary to full Decoration; Costume Design and Construction; policy that led to ultimate success, of paying mastery of costume design and illus- Advertising Illustration. Industrial Design, Teach- tration are taught in shortest time com- ers Training, etc. WRITE FOR CATALOGUES everyone but herself a salary. She handled patible with yo ny Day and the business and taught design classes her- Evening Courses. Sunday Nude Drawing NEW TERM BEGINS JANUARY 20 and Painting Class. Incorporated under Address Box A, 2239 Broadway, New York self. Regents. Certificates given on comple- PARIS ATELIERS NEW TERM FEB. 17TH “The school grew, almost bursting out tion of course. Send for Catalog D. 1680 Broadway (near 52nd St.) New York PHILADELPHIA SCHOOL OF DESIGN of the cramped quarters, until a new build- FOR WOMEN ing became necessary, so great is the de- Day, Evening and Saturday Classes mand in Los Angeles for instruction in the THE SCHOOL OF Specialized Instruction by Experts. Industrial and fine and applied arts. The new building, Decorative Design. Poster and Advertising Art. which has been leased for fifteen years to INDUSTRIAL ARTS Interior Decoration. Fashion Illustration and Cos- TRENTON, NEW JERSEY tume Design. Illustration. Normal Art. All branches the school, has a street frontage of 85 feet of the Fine Arts. and a depth of 131 feet, with two stories Supported by City and State Broad and Master Streets Write for Catalog planned to accommodate any reasonable in- Fees Nominal crease in students. The architecture is mod- UNIV. OF DENVER DEP’T OF ART ern in style and includes open courts for (CHAPPELL SCHOOL) outdoor painting and specially designed sky- Fall Term—Sept. 9, 19290—Jan. 24, 1930 lit studios for - painting, sculpture, etching, MARYLAND INSTITUTE 34 Courses in Art for University Students desiring a B.A. Degree and 12 Subjects for Art Students de- design, craft work and commercial art, be- 1825-1929 Baltimore, Md. siring a Diploma from the School. Catalog “U”’ sides offices, a library, exhibition rooms, rest sent on request. rooms and a store where the products of Courses in Fine Arts, Teacher Training, Crafts, 1300 Logan Street, Denver, Colorado the school may be purchased.” Advertising and Costume Design, Interior Deco- ration, Stage Craft, etc. Catalogs on request OPENED School Admits “Lay Artists” New low-priced Section in the THE ABBOTT SCHOOL OF ARCHIPENKO ART SCHOOL | The school of the Art Institute of Chicago has formed a class to accommodate mature FINE AND COMMERCIAL ART 16 West 61st St., New York SCULPTURE PAINTING people who desire to devote half-time to ad- INDIVIDUAL INSTRUCTION IN DRAWING CERAMIC vanced study in painting and drawing. The ART AND STAGE CRAFT | from 1 to 4:30 P.M. | work of applicants is passed upon by the Catalog on Request school’s painting jury. 1624 H Street, N. W. Washington, D. C.

Tue Art Dicest has become a directory of the art schools of America. THE DALLAS ART INSTITUTE 1215% Main Street Dallas, Texas Courses in taake money taking pictures. Prepare _o during spare time. oe on while you learn. No e ence Drawing, Painting, Design, Illustration and Com- - New easy method. Nothing eles like it. mercial Art. Interior Decoration. at once for free book, Opportunities in Modern Day and Evening Classes ete — full particulars. “BRIDGMAN CAN SCHOOL OF PHOTOGRAPHY OLIN HERMAN TRAVIS, Director Dept.3399. wer Michigan Ave. Chicago, U. S.A. AMERICAN ACADEMY OF BOOKS MAKE Practical “‘Study Studio” HARTFORD ART SCHOOL instruction in Advertising Winter Season 1929-1930 Art, Illustration, Life, Lettering and De- CHRISTMAS sign, Fashions, interior Decoration, Lay- Courses in Life, Portrait and Figure Composition, out & Art Directing. Two-year and short Still Life, Illustrative Advertising, Costume Illus- courses. Individual attention. Faculty of tration, and Museum Composition and Research. international reputation. Staest body of 400. for rs— GIFTS.” =S*= ELIZABETH COLE TUCKER, Director Harry L. Timmins — Frank i. Young. For information, address Secretary American Academy of Art 280 Collins Street Hartford, Conn. Dept. D, 1125 Kimball Bldg., Chicago, Ill. BRIDGMAN, PUBLISHERS Tel. 7-4832 PELHAM NEW YORK LAYTON SCHOOL OF ART WORCESTER ART MUSEUM Layton Art Gallery, Milwaukee, Wis. Painting, Sculpture, Teacher Train- SCHOOL ing, Advertising Art, Illustration, 24 HIGHLAND ST., WORCESTER, MASS. Interior and Industrial Design. Next ETCHINGS Three-year courses in Design, Drawing and Paint- Term, February 10, 1930 ing. Modeling. Metal Work. Jewelry. Pottery. For illustrated catalog address MAKE IDEAL Weaving. Day and Evening Classes. Charlotte R. Partridge, Director GIFTS Catalogue sent on request Dept. A. D., 438 Jefferson St., Milwaukee, Wis. H. STUART MICHIE, Principal Illustrations on request ART DEPARTMENT, COLLEGE OF EDUCATION SCHOOL OF THE MUSEUM OHIO UNIVERSITY THE ETCHING ROOM OF FINE ARTS B.S. in Education Degree and Art Supervisor’s Diploma. Course accredited in other states. Regis- The Art Center DRAWING, PAINTING, MODELING, DESIGN, tration Fee $70.00 a year. INTERIOR DECORATION, JEWELRY AND Address: 65 E. 56th St. METAL WORK The President’s Office, Ohio University New York Information on request ATHENS, OHIO BOSTON, MASS. The Art Digest, rst December, 1929 27

9 - | me TUDY ART Newark’s School | Cara BARBARA NS) UD AR New Jersey has long led the nation in School f Pane the training of designers for its industries. chool of the Arts ; The Kansas City Art Institute It has two schools—the School of Industrial 44th and WARWICK BLVD. Art at Trenton. (enrolment 1,450), founded ALBERT HERTER, A.N.A. - Courses in in 1898 and supported by both the city and ans on DRAWING, GRANTING. | MODELING, the State; and the Public School of Fine FRANK MORLEY FLETCHER

Ss pare A aaa nevakion DEC. and Industrial Arts at Newark, long known Derector ae aoe CAR- as the “Fawcett School” (enrolment 2,200), | || GRAPHIC AND PICTORIAL ARTS aes 3 : founded in 1882, and likewise supported by DECORATIVE DESIGN—CRAFTS nd Write for free illustrated catalog. both city and State. Now the news comes SCULPTURE—BRONZE CASTING Students May Enter at Any Time from Newark that the city has appropri- WOOD BLOCK PRINTING—ETCHING Night Classes ated $1,000,000 for the erection of a new ARCHITECTURE building for its school, a limestone and buff Session: 30 weeks, October-May sare = brick structure that will contain 44 class- . rooms, a little theatre, a kiln room and an SCHOLARSHIPS AVAILABLE oa WILMINGTON exhibition gallery. At present the school is Illustrated Catalog - ACADEMY OF ART housed variously near its main building. nt +g MIMINGTON, Del, An idea of the size and scope of the 914 Santa Barbara Street H tt tadeiman D Ss er “ ” a Ida Evelyn Macfarlane Gayle P. Hoskins Fawcett School” can be had from the fact SANTA BARBARA, CAL. an M. A. Rensetti : Prank E. Schoonover that it has more than 75 instructors. Ray- her Stanley rthurs a FR ha . co. We mond P. Ensign, . one of the country’s ’ best known specialists in art education, recently ork became principal, and has reinforced the rb — bt serve staff with a number of outstanding artists, Scott Ca of the Detroit Society designers and craftsmen. On his recom- a of Arts and Crafts School of ie cael dee onl mendation, there is to be added a department Personal Daily Instruction—Illustra- four year verses. Drawing, of dramatic art. tion, Drawing, Painting, Portrait, Still Painting, Modeling, Design, ° ‘ Life, Commercial and Costume Design. Tilescsetion, pa oad Banaras Mr. Ensign has organized a portion of the Day and Evening Classes. Placements. ag ag Design. Catalog | | student body into a “Design Service | 4... Pe ume Enroll Ee E. A. Gurry, Dir., 50 Watson St., Detroit, Mich. Clinic.” The members, selected because of special ability and operating in business | OTIS ART INSTITUTE ~] | | RALPH M. PEARSON | |5y fashion, the’ world accept of problems industry brought and commerce. to them | | A * SCHOOL "URC, OF FINE oF AND 103 APPLIED ANCHE ARTS Siuteoat MAINTAINED DESIGN WORKSHOP and Pictorial Analysis courses. Under competent guidance, they make 2401 Wilshire Boulevard, Los 5 pra 5 ° Thirty-eight classes beginning an advance Md. Modern dian Creative Seek. Seah. theory Chamloamde and practice. Gr cogent. Fall sessions analyses 1 in : respect to design and color. Work outdoors or indoors 12 months in the year. i P Pp gu eg There is a “technical committee.” +h Date of entrance and period of study optional. A said NEW SCHOOL OF SOCIAL RESEARCH he : mittee, ‘whose genuine Art Spirit pervades this art school. Illus- ECO= duty it is, when a project is accepted, to trated catalog upon request. 465 West 23d Street, New York City obtain full information as to technical lim : — sill itations, s, Processes processe and matters of cost. This i NEW RN YORK SCHOOL : OF APPLIED , FRANK ALLEN committee guides other members of the DESIGN FOR WOMEN ; ALN tr group in the working out of the problem. 160 Lexington Ave., N. Y. City 38th year .T agape coe silo og aad It is the ambition of the school to make Textile Designing, Fashion Drawing, Poster and «qb etsonal Criticism as. Desired a real contribution : . in : America : toward im- : pr scale » an Int Decoration, Pn ck, Advance aa For senllan’ information ace Weleun address 2. Studio Brockiva, 605, Ovington OE provement in in industrial i : art comparable to Ornament, Teachers’ Teachers C ary : wei flied (Leave Interborough Subway at Clark st., Brook- | | that made in Europe by the many industrial Ee ee c. lyn. Fifteen minutes from 42nd St., Manhattan.) art schools which have fonttioned Neen —_ for many years as definite aids to their re- COLLEGE OF FINE ARTS oe a ae ; 7 Corcoran School of Art spective countries’ commercial and industrial : : SYRACUSE UNIVERSITY , WASHINGTON, D.C. ‘ progress. Mr. Ensign has received full as- Four-year courses in PAINTING, INTERIOR DECORA- -xas Tuition Free—Annua Entrance Fee $15.00 . T TION, DESIGN, ARCHITECTURE, ILLUSTRATION AND Day and Evening Classes in Drawing, Painting, surance of cooperation from the Newark COMMERCIAL ART, Pus. SCHOOL ART. Leading to the ies alour, Composition and Anatomy Instructors : Chamber of Commerce, the United States degree of Bachelor of Fine Arts. ichar . Meryman, Principal; S. Burtis Baker, N ION JULY 2 TO AUGUST Vice-Principal; Mathilde M. Leisenring, Eugen Chamber of Commerce and several other ——— J . - HarotD L. BuTLER, J Dean Ss yracu: se, N.Y. Weisz, Carl C. Mose, George M. Jenkins, M.D. business organizations. For information and Prospectus, address MISS AGNES MAYO, Secretary Z ir XAVIER J. BARILE Commercial Art School NAUM M. LOS _ __ STUDIO CLASSES ion, Portrait Painting, Drawing—Saturday. Sunday vse A treat to the Art lovers, and to those that want morning—Figure Composition. Monday evening— to make Art their profession. Our school is the only : rch. one of its . kind . to offer this . to the public. . Sean te: diemioan dedduiny of tame Landscape, Sketch Class. Still Private Life, Etching, lessons by Portrait, appointment. Figure. COURSE CONSISTS OF Th h Fund i Tieksine fe ee for — X. J. BaRILeE, 7 West Free Hand Drawing and Designing, Mixing Colors - % 1S See ee re tg The Art of Crackle Finishing, Proper Use of Colors, SCULPTURE - DRAWING - PAINTING Painting Furniture, Shading and Striping, Using Constructive Anatomy Re Gold Leaf, Composition of Design, Restoring Antique : M Lacquers, Refinishing Wespiensy, Chinese Raised DAY, EVENING AND SUMMER CLASSES A i, C R O S S acquering, Painting on Back of Glass, Silhouette Ww ° e Painting, General Flower Painting. ; eye Can = gg tg - P We give you personal criticism and hand-made VISION-TRAINING SCHOOL gives artists success plate to go by, not a lot of printed matter to after twenty years of failure; saves this time for int: puzzle over. Our method is easy. students. 900 now gaining faster at home than in ery. Write for information. “ schools by old ways. Illustration, Portrait, Land- JOSEPH LACEY new york school of design scape. Personal or by mail. Address CROSS ART new england school of design SCHOOL, Boothbay Harbor, Maine. 1034 PINE STREET PHILADELPHIA, PA. enroll now—new term starting—small classes—individual instruction, practical \) professional courses in sketching and designing, modern decorative art, com- California School of Fine Arts location art, illustration, interior dec- Re GEO RGE fj oration, textile design, fashion draw- Chestnut and Jones Streets ing, costume and stage design, and San Francisco other branches of industrial art. write SCHOOL OF FINE & APPLIED ART N, Affiliated with the University of California. Fall _ catalogue. day and night classes. Second Term Feb. 1 | term now in session. Professional courses in the douglas john connah, director Professional Courses—20 Instructors ? : fine and applied arts; Normal Teachers’ Course. 145 east 57th street, new york. 300 Students—4-Story Building A} Write for illustrated catalogue volunteer 1926. 3 Foreign Scholarships | Lee F: Randolph, Director 248 boylston street, boston, mass. — Booklet—44 St. Botolph St., Boston, Mass, a kenmore 2262. ~ ~ a 28 The Art Digest, rst December, 1929

“Since the Institute was not equipped for tion of X-ray shadowgraphs—began in X-Ray Work such work, Alan Burroughs, then curator of April, 1926, when the Museum of Fine Arts paintings, submitted the program of research in Boston gave permission for Mr. Bur- During the past four years the Fogg Mu- to F. Allen Whiting, director of the Cleve- roughs to X-ray paintings in its permanent seum has been carrying on research work in land Museum, who brought the matter to collection. Since then shadowgraphs of pic- the study of paintings by means of the the attention of the Fogg Museum, knowing tures in the Louvre, Kaiser Friedrich Mu- X-ray. Through the codperation of other that this institution had a laboratory for the seum, National Gallery, Metropolitan and museums and institutions here and abroad, fine arts. During the first period of experi- various other American and European in- some 1,200 shadowgraphs valuable alike to mentation, the essential knowledge and skil- stitutions have been added to the collection, students and connoisseurs have been collect- ful manipulation of X-ray equipment was “The fourth stage of the work—classifica- ed. A brief outline of the work is printed in furnished by Dr. J. Lloyd Bohn, then a tion of the knowledge obtained—has already the museum’s Notes: graduate student at Harvard. These tests been begun at the Fogg Museum, with the “The starting point was undoubtedly the proved that X-rays have no physical effect hope that further generosity on the part of experiment made at the Minneapolis Insti- on pictures. ... museum officials, collectors and critics will tute of Arts under Russell A. Plimpton in “During the second period of research pic- lead to the solution of problems in attribu- the fall of 1923, when an unopened mummy tures from the Fogg Museum and elsewhere, tion which face connoisseurs everywhere.” case was X-rayed in order that the contents notably two from the Metropolitan Museum, might be disclosed without damage to the were X-rayed with the intention of ascertain- Tue Art Dicest’s New York office will highly decorated covering. About the same ing the limits of the X-ray method of study. gladly help you locate a particular painting time Mr. Plimpton allowed several paintings What may be called the third stage of the or sculpture. Address: THe Art Dicgst, belonging to the Institute to be X-rayed. work—the formation of an extensive collec- 9 East 59th St.

Buyers’ Guide to THE ART DIGEST’S Advertisers

ANTIQUES WASHINGTON, D.C.— . J. Greenwald, Inc., 940 3rd Av., N.Y. SCHOOLS OF ART Gordon Dunthorne, 1726 Connecticut Martini Artists Color Lab., 97 Harris Abbott School of Fine and Com, Art, Antique Shop, 682. Main St., Fitchburg, Av. Ay., L.I. City, N.Y. 1624 H St., N.W., Washington. Mass. Yorke Gallery, 2000 S. St. Palette Art Co., 327 5th Ave., N.Y. Frank Allen, Studio 605, Ovington Stu- Ralph Chait, 600 oy" - » BY. Pelican Works—Gunther Wagner, 34 E. dios, 246 Fulton Street, Bklyn., N.Y. Ehkrich’s, 36 E. 57th St., CHICAGO, ILL.— 23rd St., N.Y. American School of Photography, 3601 J. J. Gillespie Co., ee Libeity AV., Carson, Pirie Scott & Co. Erwin M. Riebe Co., 159 E. 60th St., and Michigan Ave., Chicago, Ill. Pittsburgh. Chicago Galleries, 220 N. Mich. 49 E. oth St., N.Y. Alexander Archipenko, 16 W. 61st St. Herzog’s, 3619 Main St., Houston, Tex. O’Brien Art Galleries, 673 N. Michi- Schneider & Co., 123 W. 68th St., N.Y. American Academy of Art, Dept. A.D., P. Jackson Higgs, 11 E. 54th St., N.Y. gan Av. F. Weber Co., 12§ S. 12th St., Phila., Pa. 1125 Kimball Bldg., Chicago, Ill. Kelekian, 598 Madison Av., N.Y. Winsor & Newton, 31 E. 17th St., N.Y. Thomas J. Kerr, 510 Madison Av., N.Y. BALTIMORE, MD.— X. J. Barile, 7 W. 14th St., N.Y. Purnell Galleries. Little Gallery, 29 W. 56th St., NY. BRONZE FOUNDERS Boston Museum School, Fenway Rd., Boston, Mass. Nazare-Aga, 3 Av. Pierre ist de Serbie, Pearson, Priessmann, Bauer & Co., 545 BOSTON, MASS.— Calif. School of Arts and Crafts, Oak- Paris. 5th Av., N.Y. Grace Horne’s, Stuart at Dartmouth. land. J. Rotil, 134 Bld. Haussmann, Paris. Robert C. Vose, 559 Boylston St. Calif. School of Fine Arts, Chestnut and Jacques Seligmann & Co., 3 E. §1st St., CASTS, STATUARY Jones, San Francisco. N.Y ST. LOUIS, MO.— P. P. Caproni & Bro., Inc., 1914 Wash. St., Boston, Mass. Scott Carbee School, 126 Mass. Av., Bos- Wildenstein, 647 sth Av., N.Y. Newhouse Galleries, 484 N. Kings- highway Blvd., St. Louis, Mo. Florentine Art Plaster Co., 2217 Chest- ton. ANTIQUE FABRICS Max Safron Galleries, Jefferson Hotel. nut St., Philadelphia, Pa. Chappell School of Art, 1300 Logan St., Denver. Lovencon, 578 Madison Av., N.Y. KANSAS CITY, MO.— FRAMERS Findlay Galleries, 1225 Balt. St. Chester Springs School, Chester Springs, J. Greenwald, Inc., 940 3rd Av., N.Y. Pa. ART BOOKS BUFFALO, N.Y.— Grosvallet, 126 Bld. Haussmann, Paris. Commercial Illustration Studios, Suite Broderick, 436 Virginia St. N. Y. Frame & Picture Co., 116 Fulton Bridgman Publishers, Pelham, N.Y. 409-A Brentano Building, 1 West 47th St., N.Y. Gregg Publishing Co., 20 West 47th St., NEW YORK— St., New York. Serge Roche, 4 Rue Victor-Masse, Paris. N.Y Balzac Galleries, 102 East 57th St. Corcoran School of Art, Washington. Wilham Edwin Rudge, 475 sth Av., Belmont Galleries, 576 Madison Av. A. K. Cross, Boothbay Harbor, Me. N.Y. HOTELS Brummer Galleries, 27 E. 57th. Bellevue-Stratford, Phila., Pa. Adam Dabrowski Studio School of Wood- ART EXPERTS Frans Buffa & Sons, 58 W. 57th. Hotel Monterey, Chicago, Ill. carving, 241 Fulton St., Bklyn., N.Y. Calo Art Galleries, 128 W. 49th. President Hotel, Atlantic City, N.J. Art School of the Detroit Society of Maurice Goldblatt, 318 S$. Mich., Chi- Corona Mundi (The Roerich Museum), cago. Arts and Crafts, 50 Watson St., De- 310 Riverside Drive LAMPS AND LIGHTING troit, Michigan. Adam Dabrowski Wood Sculpture Gal- Macbeth Daylighting Co., 231 W. 17th ART GALLERIES Dallas Art Institute, Dallas, Texas. lery, 241 Fulton St., Brooklyn, N.Y. St., N.Y. LLONDON— Dayton Art Institute, Dayton, Ohio. De Hauke & Co., 3 E. §18t St. The Carrol Gallery, 28 St. James’s Delphic Studios, 9 E. 57th St. ORIENTAL ART Designers Art School, 376 Boylston St., Square. Downtown Gallery, 113 W. 13th St. Nathan Bentz & Co., 437 Grant Av., San Boston. French Gallery, 158 New Bond St. Dudensing Galleries, 5 E. 57th. Francisco, Cal. Vesper George School, 42 S. Botolph St., J. Leger & Son, 13 Duke St., St. Durand-Ruel Galleries, 12 E. 57th. Ralph Chait, 600 Madison Av., N.Y. Boston. James's. Ehrich Galleries, 36 E. 57th St. Exeter School of Art, 729 Boylston St., PACKERS AND SHIPPERS Leicester Galleries, Leicester Square. Ferargil Galleries, 37 E. §7th St. Boston. Godfrey Phillips Gallery, 43-44 Duke Fifteen Gallery, 37 West 57th St. Artists Packing & Shipping Co., 139 W. Fashion Art School, Scottish Rite Tem- St., St. James’s. Fifty-Sixth St. Gallery, 6 East 56th St. s4th St., N.Y. ple, 1290 Sutter St., San Francisco, Redfern Gallery, 27 Old Bond St. Gallery of P. Jackson Higgs, 11 E. Chenue, 5 Rue de la Terrasse, Paris Cal. R. Lerondelle, 76 Rue Blanche, Paris. A. Reid & Lefevre, Ltd., 1a King St., 54th St. Hartford Art School, Hartford, Conn. Pascal Gatterdam, 145 W. 57th. Chas. Pottier, 14 Rue Gaillon, Paris. St. James’s. Kansas City Art Institute, 3500 War- G. R. D. Studio, 58 W. §sth St. Max Rothschild, 28 Sackville St. PHOTOGRAPHERS Grand Central Art Galleries, 15 Van- wick Blvd., Kansas City, Mo. Independent Gallery, 7a Grafton St. derbilt Av. Carl Klein, 9 E. 59th St., N.Y. Layton School of Art, Milwaukee. #PARIS— Greener Art Gallery, 1§7 W. 72nd St. Maryland Institute, Baltimore. PRINTS Hyman & Son, 653 Lexington Av. Metropolitan Art School, 58 W. 57th Marcel Bernheim, 2 bis Rue Caumar- Art Extension Press, Westport, Conn. tin. Thos. J. Kerr, 510 Madison Av. St., N.Y. Kleinberger, 12 E. s4th St. Brown-Robertson Co., 424 Madison Av., Bignou, 8 Rue la Boetie. Naum Los, 1947 Broadway, N.Y. J. Leger & Son, 695 sth Av. N.Y. Th. Briant, 32 Rue de Berri. N. Y. School. of App. Design for Wom- John Levy Galleries, 559 sth Av. E. B. Courvoisier Co., 474 Post St., San Brimo de Laroussilhe, 34 Rue Lafay- en., 160 Lexington Av., N.Y. Little Gallery, 29 W. 56th St. Francisco, Cal. ette. N. Y. School of Design, 145 East 57th St. Macbeth Gallery, 15 E. 57th St. Gordon Dunthorne, 1726 Connecticut Av., EL. Cornillon, 21 Quai Voltaire. Metropolitan Galleries, 578 Mad. Washington. N. Y. School of Fine & Applied Art, Ch. A. Girard, 1 Rue Edouard VII. Milch Galleries, 108 W. 57th St. Fine Art Society, 148 New Bond St., Lon- 2239 Broadway, N.Y. Paul Guillaume, 59 Rue la Boetie. Morton Galleries, 49 W. §7th St. don. Ohio University, Athens, Ohio. Marcel Guiot, 4 Rue Volney. J. B. Neumann, 9 E. 57th St. Findlay Galleries, 1225 Baltimore St., Otts Art Institute, 2401 Wilshire Blvd., J. Herbrand, 31 Rue le Peletier. Newhouse Galleries, 11 E. §7th. Kansas City. Los Angeles. Lucas-Moreno, 28 Rue de la Victoire. Arthur U. Newton, 665 sth Av. J.J. Gillespie Co., 639 Liberty Av., Pitts- Ralph M. Pearson, 10 E. §3rd St., N.Y. Leon Marseille, 16 Rue de Seine. Reinhardt Galleries, 730 sth Av. urgh. Galerie Pierre, 2 Penn. Academy of the Fine Arts, Broad rue des Beaux-Arts Paul Rosenberg & Co., 647 sth Av. Marcel Guiot, 4 Rue Volney, Paris. (Rue de Seine). & Cherry, Phila., Pa Schultheis, 142 Fulton St. Richard Owen, 1§ Quai Voltaire, Paris. Rotil, 134 Boulevard Phila. School of Design for Women, Haussmann. Seligmann & Co., 3 E. §1st St. Purnell Galleries, Baltimore. Arthur Sambon, 7 Square Broad and Master, Phila. Messine. E. & A. Silberman, 133 E. §7th St. Mabel Ulrich’s Print Shops, Minneap- M. & R. Stora, gg Art Institute, 350 Madison Av., 32 Bld. Haussmann. Van Diemen Galleries, 21 E. 57th. olis and St. Paul. J. Watelin, 11 Rue Auber. Wildenstein & Co., 647 sth Av. University Prints, Box J, Newton, Mass. Zhorowski, 26 Rue de Seine. Pratt Institute, Brooklyn. Howard Young Galleries, 634 sth Av. School of the Arts, 916 Sta. Barbara St., RARE BOOKS, MANUSCRIPTS Santa Barbara, Cal. “OS ANGELES, CAL.— PITTSBURGH, PA.— J. J. Gillespie & Co., 639 Liberty. Brick Row Bookshop, Inc., 42 E. soth St., School of Industrial Arts, Trenton, N.J. Newhouse Galleries, 2509 W. 7th St. N.Y. Syracuse University, Sytacuse. PROVIDENCE, R.I.— James F. Drake, 14 W. 4oth St., N.Y. Traphagen School of Fashion, 1680 SAN FRANCISCO, CAL.— Nathaniel N. Vose, 278 Thayer St. G. Hess, Munich. Broadway, N.Y. Beaux Arts Galerie, 166 Geary St. HOUSTON, TEX.— Webster Art School, 99 Perry Street, Nathan Bentz & Co., 437 Grant Av. Herzog Galleries, 3619 Main St. RESTORERS New York City. E. B. Courvoisier Co., 474 Post St. SAN ANTONIO, TEX.— Chas. Chiantelli, §72 Lexington Ave.,N.Y. Wilmington Academy of Art, Wilming- Milam Galleries, 1142-46 Milam Bldg. Chev. Prof. Pasquale Farina, 1350 So. ton, Del. SANTA BARBARA, CAL.— ARTISTS’ SUPPLIES Sist St., Phila., Pa. Worcester Art Museum School, 24 High Nathan Bentz & Co. E. H. Friedrichs, Inc., 129 W. 31st, N.Y. M. J. Rougeron, 101 Park Av., N.Y. land St., Worcester, Mass. The Art Digest, 1st December, 1929 29

| Great Calendar of U. S. and Canadian Exhibitions ent ic- [u- (Competitive exhibitions and exhibitions that pre- Dec. 19-Jan. 19—Sculpture, George Kolbe and Numa Dec. 9-21—Water colors of flowers, Polly Nordell. sent opportunities for artists to enter works are Patlagean ; paintings, Anthony Angarola and Alex- Through Jan. 4—Russian antiques, collection of Al- nd marked with two stars, thus **.) ander Brook; drawings from the competition for fred G. Smaltz. Chicago’s War Memorial, Jose Clemente Orozco; ROBERT M. VOSE— Birmingham, Ala. work by teachers in school of Art Institute. Dec.—Exhibition of paintings. PARK AND RECREATION BOARD— ; E ARTHUR ACKERMAN & SON— 4 SOCIETY OF ARTS & CRAFTS— ca-= Dec.—& paintings, contemporary American artists Dec.—Wax miniatures, Ethel Frances Mundy; origi- To Dec. 24—Christmas cards. (A.F.A.). nal drawings, Thomas Rowlandson. CAPRONI GALLERIES— Berkeley, Cal. CHICAGO GALLERIES ASSOCIATION— Indefinite—Reproductions of classical and modern statuary. BERKELEY ART MUSEUM— Dec.—8th semi-annual show of artist members. Dec.—Paintings, Hamilton Wolf; C. C. Bovey collec- CARSON, PIRIE SCOTT & CO.— Cambridge, Mass. tion, paisley and East Indian shawls. Dec.—Paintings, Victor Higgins; etchings, contempo- FOGG ART MUSEUM-—- Laguna Beach, Cal. rary artists. To Dec. 13—Drawings, John Singer Sargent. MARSHALL FIELD GALLERIES— Indefinite—Maya art, lent by Peabody Museum; LAGUNA BEACH GALLERY— Jan. 25-Feb. 12—6th annual Hoosier Salon. To Mar. 31-—Exhibition by members of Laguna Beach loan exhibition of drawings from XVth to XIXth O'BRIEN GALLERIES— Art Association. century; prints from XVth to XIXth century. To Dec. 10—Paintings, Arthur Spear and Ettone Ca- Hingham Center, Mass. La Jolla, Cal. ser; drawings and etchings, Paul Brown. LA JOLLA ART ASSOCIATION— ete THE PRINT CORNER— PALETTE & CHISEL CLUB— Dec.—Etchings, drawings and water colors, Charles. Dec.—Exhibition by La Jolla Art Association. To Dec. 15—Annual sketch and small picture sale. E. Heil. Dec. 15-Jan. 5—Etchings, block-prints and drawings. Los Angeles, Cal. Springfield, Mass. LOS ANGELES MUSEUM— Decatur, Ill. Dec.—2oth annual exhibition of. Cal. Art Club; prints ARTISTS GUILD, INC.— INSTITUTE OF CIVIC ARTS— To Dec. 7—Annual members exhibition. from Norway; photographs, E. A. Nievera ; French Dec.—National small soap sculpture; textiles, Mrs. peasant costumes (A.F.A.); 13th International Sa- Mildred Williams ; prints and oil paintings, Charles Westfield, Mass. lon of Photography, closing date, Dec. 10. Address, and Emile Gruppe. ; THE ATHENAEUM— The Camera Pictorialists, Los Angeles Museum. Dec.—Landscapes, portraits and marines (A.F.A.). AINSLIE GALLERIES— Peoria, Ill. Dec.—Exhibition, Theodore N. Lukits. ART INSTITUTE— Worcester, Mass. BILTMORE SALON— Dec. 1-22—Peoria Artists and Craftsmen exhibit. WORCESTER ART MUSEUM— Dec. 9-Jan. 25—General exhibition. Dec. 22-Jan. 5—Soap sculpture, prints, book plates. Dec.—Carroll, Hopper, Burchfield, Dasburg, etc. To Dec. 7—Annual exhibition of Painters of the Springfield, Il. Ann Arbor, Mich. West, ART ASSOCIATION (EDWARDS PLACE GALLERIES)— ART ASSOCIATION (Alumni Hall)— BRAXTON GALLERIES (Hollywood)— Dec.—Paintings, Maurice Braun. Dec.—Rotary water color exhibition. Art, Dec.—Modern sculpture. UNIVERSITY OF MICHIGAN— STENDAHL ART GALLERIES— Indianapolis, Ind. Dec.—Pencil sketches. Stu- Dec.—Paintings, Conrad Buff, Haldane Douglas, JOHN HERRON ART INSTITUTE— Clarence Hinkle; aquarelles, Edouard Vysekal, Dec.—Paintings, John E. Bundy and Samuel Richards ; Detroit, Mich. 3601 Henri De Kruif, Joseph Bakos; wood carvings, American Print Makers’ exhibition. DETROIT INSTITUTE OF ARTS— paintings, Gjura Stojana; sculpture, A. Katchama- LIEBER GALLERIES— To Dec. 10—Chinese art; modern German wood cuts koff ; wood carvings, Clifford Wight. To Dec. 7—Paintings, Will Vawter. and engravings. Palm Springs, Cal, PETTIS GALLERY— Grand Rapids, Mich. Dec. 2-16—Exhibition, Mr. and Mrs. Geo. Mess. DESERT ART GALLERIES— . GRAND RAPIDS ART ASSOCIATION— Dec. 16-30—Exhibition, Mrs. O. L. Adams. Rd., Dec.—Exhibition of Western Painters; aquatints and Dec.—Grand Rapids artists exhibit; modern paintings etchings. Richmond, Ind. from Dudensing Gallery; tapestries, bronzes, ART ASSOCIATION— collection of Dudley E. Waters. lak- Pasadena, Cal. Dec.—16th annual exhibit of prints. PUBLIC LIBRARY— PASADENA ART INSTITUTE— Ames, Iowa Dec.—International exhibition of cartoons and cari- and Dec.—Pasadena Society of Artists; Ralph Holmes, M. catures (A.F.A.). DeNeal Morgan, Otto Schneider, Henri DeKruif; STATE COLLEGE— . 308- Cal. Water Color Society. Dec.—Photographs of landscape architecture Muskegon, Mich. San Diego, Cal. (A.F.A.); Iowa Artists’ Club exhibition. HACKLEY GALLERY OF FINE ARTS— Cedar Rapids, Ia. Dec.—Paintings, Allied Artists of America; pastels, FINE ARTS GALLERY— F. Usher DeVoll; etchings, C. A. Seward. Dec.—4th annual Art Guild exhibition; Otto Schnei- LITTLE GALLERY— der; batiks, Gustave Ertle; 42 water colors; old To Dec. 7—Paintings, Marion Cone (A.F.A.). Minneapolis, Minn. Chinese hangings. Dec. 8-Jan. 1—Block prints; Charles, E. Heil, etch- MINNEAPOLIS INSTITUTE OF ARTS— San Francisco, Cal. ings and water colors. Dec. 2-26—Thirty oils by Cleveland artists. Des Moines, Ia. Dec. 23-Jan. 23—Paintings, Frederic M. Grant. GALERIE BEAUX ARTS— Dec. 13-Jan. 18—Tuttle collection, Japanese prints. Dec. 2-24—Prints, etchings, water colors and small ASSOCIATION OF FINE ARTS— oils in Christmas exhibition. Dec. 1-15—Paintings, Byron B. Boyd. Kansas City, Mo. Dec. 26-Jan. 3—Oils and water colors, Diego Rivera. Dec.—Exhibition, 40 American etchers. KANSAS CITY ART INSTITUTE— CAL. PALACE OF THE LEGION OF HONOR— Dubuque, Ia. Dec.—Early Italian, French, Flemish, German and To Dec. 31—Exhibition of contemporary American ART ASSOCIATION AND LIBRARY— Dutch paintings, lent by Paul Bottenwiesen; exhi- sculpture. Dec.—Paintings, Adrian J. Dornbush. bition of graphic arts on “How Prints are Made.” COURVOISIER’S— Wichita, Kan. St. Louis, Mo. Dec.—Exhibition of paintings and etchings, CITY ART MUSEUM— ART ASSOCIATION— EAST WEST GALLERY— Dec.—Sculpture, Malvina Hoffman; paintings, Angel Dec.—Paintings, Albert Gos; water colors, Frank W. Dec. 8-22—Wichita Artists Guild. Zarraga. Bergman. Louisville, Ky. NEWHOUSE GALLERIES— Santa Barbara, Cal. J. B. SPEED MEMORIAL MUSEUM— Dec.-Jan.—American and foreign paintings. ART LEAGUE GALLERY— To Dec. 15—Jewelry, silver miniature and fans, ST. LOUIS ARTISTS’ GUILD— Dec. 2-14—Paintings, Belmore Browne. Dec. 1-15—Paintings, Paul King. To Jan. 5—17th annual salon. Dec. 16-28—Small picture exhibit, members. New Orleans, La. [Continued on next page] San Pedro, Cal. ARTS AND CRAFTS CLUB— PEAVY ART GALLERY— To Dec. 14—American Institute of Architecture. Dec.—Contemporary American art, Dec. 15-21—Oils, Carrie Wogan Durieux. ISAAC DELGADO MUSEUM— Boulder, Col. Dec.—Paintings, Rockwell Kent. ART ASSOCIATION— e Masters Use To Dec. 15—Loan by Metropolitan Museum (A.F.A.). Baltimore, Md. EA belle des EB ‘ BALTIMORE MUSEUM OF ART— i Denver, Col. Dec.—Alice Worthington Ball memorial exhibition; DENVER ART MUSEUM— water colors and etchings, Ben Silbert; etchings by Dec.—Modern decorative art. Old Masters, gift of Blanche Adler; Rembrandt WINSOR’& NEWTON’S CYRUS BOUTWELL— etchings, lent by Lessing J. Rosenwald. Dec.—Antique English silver and Sheffield plate. PURNELL GALLERIES— Finely Prepared Hartford, Conn, Dec.—Old and modern paintings. WADSWORTH ATHENEUM— Amherst, Mass. Dec.—Selected works by contemporary French mas- AMHERST COLLEGE— OIL COLOURS ters in conjunction with New Britain Art* Institute, Dec. 2-20—75 contemporary prints (A.F.A.). Famous for their Wilmington, Del. Boston, Mass. SOCIETY OF FINE ARTS— BOSTON MUSEUM— Dec. 4-31—Work of Delaware artists, pupils of How- Dec.—International exhibition of glass and rugs QUALITY ard Pyle, members of Society. (A.F.A.); etchings and engravings from XVth vd., Washington, D.C. century to present; drawings, Paul Sandby and \> Permanence, Brilliance and GORDON DUNTHORNE GALLERIES— John Varley; William Blake drawings, lent by v.Y. gteatest covering adaptabil- Dec.—Exhibition of paintings and etchings. Mrs. William Emerson; Japanese prints, lent oad UNITED STATES NATIONAL MUSEUM— by Gilbert E. Fuller; etchings, Claude Lorrain; |) WATER (ia Dec. 2-29—Etchings, Dwight C. Sturges. aquatints. COLOURS | Ask Your Dealer or send ten, YORKE GALLERY— BOSTON ART CLUB— fe) L f 10c. for complete Catalogue Dec. 2-14—Paintings, Florence McCabe; prints, Ber- To Dec. 7—Intimate pictures. of Artists’ Materials. Av., trand Wentworth. Dec. 21-Jan. 15—New England Society of Contem- porary Art. Special proposition for Dec. 16-Jan. 4—Paintings, Berta and Elena Helle- schools. branth. CASSON GALLERIES— Gainesville, Ga. To Dec. 14—Paintings, Bessie Lasky. To Dec. 21—Etchings, Diana Thorne. ] BRENAU COLLEGE— N.J. DOLL & RICHARDS— Dec. 1-15—Chester Springs Summer School exhibition To Dec. 10—Pastels, Kate Leah Cotharin; wood 1680 (A.F.A.). engravings, Dr. Lewis W. Hill. Chicago, Il. Dec. 4-24—Water colors, Vladimir Pavlosky. eet, ART INSTITUTE OF CHICAGO— Dec. 11-24—Persian miniatures. WINSOR-NEWTON To Dec. 8—42nd annual exhibition of American paint- GOODSPEED’S$ BOOK SHOP— Everything far the Artist: ing- ings and etchings. Dec.—Exhibition of prints. Dec. '5-Jan. 26—First International exhibition of litho- GRACE HORNE’S GALLERIES— 31 East 172St. NEw YORK } igh gtaphy and wood engraving. To Dec. 7—Paintings and water colors, John Whorf. 30 The Art Digest, rst December, 1929

DE HAUKE & CO.— : SCHULTHEIS GALLERIES— ri Exhibition Calendar Dec. 2-28—Modern French water colors and drawings. Permanent—American and foreign artists. DELPHIC STUDIOS— JACQUES SELIGMANN & CO.,INC— Permanent—Works of Orozco, Thomas H. Benton and Permanent—Exhibition of ancient paintings, tapes- [Continued from preceding page] Dewey Albinson. tries, furniture. To Dec. 15—Paintings, Gabriel Garcia Maroto. SALMAGUNDI CLUB— ee Lincoln, Neb. Dec. 16-Jan. 4—Paintings of Greece, Pantelis To Dec. 16—Annual water color exhibition. UNIVERSITY OF NEBRASKA— Zographos. SILBERMAN GALLERIES— Dec.—Graphic processes (A.F.A.). DEMOTTE— oe? To Feb. 1—Old Masters and antiques. Omaha, Neb. To Dec. 21—Persian and Indian miniature paintings, MARIE STERNER GALLERIES— ART INSTITUTE— XIIth to XVIIIth century. Dec. §-31—Water colors by American, English and Dec.—8th annual of Nebraska artists. DOWNTOWN GALLLERY— French artists. Manchester, N.H. To Dec. 8—Paintings in tempera, Glen Coleman. VALENTINE GALLERIES— CURRIER GALLERY OF ART— Dec. 9-Jan. 1—Etchings, lithographs, wood cuts by Dec.—Modern French art. Dec.—Oils by members of Guild of Boston Painters ; 36 American contemporary artists. VAN DIEMAN GALLERIES— water colors and drawings, E. J. Bistram. DURAND RUEL— To Dec. 7—Lucas Cranach exhibition. Atlantic City, N.J. To Dec. 21—Exhibition, Wm. S. Horton. WEYHE GALLERY— DUDENSING GALLERIES— Dec.—Drawings and lithographs. MUNICIPAL ART GALLERY— : é Dec.—Important paintings. WESTON GALLERIES— Dec.—Early and contemporary American prints. EHRICH GALLERIES— Dec.—Contemporary art; Old Masters. East Orange, N.J. Dec.—Contemporary art. WILDENSTEIN GALLERIES— ART CENTER OF THE ORANGES— FERARGIL GALLERIES— Dec. 2-23—Paintings of Italy, Katherine Kinsella. To Dec. 18—Christmas exhibit. To Dec. 8—Sculpture, Jose de Creeft. WHITNEY STUDIO GALLERIES— Montclair, N.J. Dec. §-19—Paintings, Mortimer J. Fox. To Dec. 8—Water colors, Stuart Davis, Mark Baum, MONTCLAIR ART MUSEUM— To Dec. 13—Water colors, Frederick Soldwadell. Richard Lahey, Paul Rohland. To Dec. 22—Graphic and decorative arts. FIFTEEN GALLERY— HOWARD YOUNG GALLERIES— Newark, N.J. To Dec. 7—Agnes Richmond. Dec.—Gems of the Barbizon School; XVIIIth Dec. 9-21—Chas A. Aiken and John H. Downes. century English. portraits. NEWARK MUSEUM— Dec. 2-16—Work of Junior Leagues of N.J. Dec. 9-Jan. 4—Wm. A. Patty. Rochester, N.Y. To Jan. 15—Modern applied arts. FIFTY-SIXTH STREET GALLERIES — MEMORIAL ART GALLERY— ‘ To Feb. 24—Native arts of Java, Borneo, etc. Dec. 2-14—General exhibition of sculpture, Carl Dec.—First International Rochester Salon of Photog- Staten Island, N.Y. Milles; sculpture, F. Luis Mora; paintings and raphy; contemporary American paintings. sculpture, Alexander Calder; Barry Foulkner, Saratoga Springs, N.Y. INSTITUTE OF ARTS— water colors. To Dec. 28—Painting and sculpture, Staten Island Dec. 16-30—Sculpture, Mestrovic, Despiau and Roy SKIDMORE COLLEGE GALLERY— artists. Sheldon. Dec. 1-15—Book plates, Rockwell Kent; color prints Santa Fe, N.M. PASCAL M. GATTERDAM— of Old Masters. ART MUSEUM— Dec.—Exhibition of paintings. Syracuse, N.Y. Dec.—Block prints, Gustave Baumann; paintings, G. R. D. STUDIO— SYRACUSE MUSEUM— Fremont Ellis. q Dec.—Christmas selling show. Dec. 7-28—Small sculpture in soap. **apr. 16-18—Exhibition in connection with convention GRAND CENTRAL ART GALLERIES— Dec.—Exhibition, W. Lester Stevens. ef western branch of A.F.A. Address Prof. Grum- Dec. 4-14—Paintings, Francis Newton, Hobart Nichols, Akron, O. mann, University of Nebraska, Lincoln. George de Forest Bush. AKRON ART INSTITUTE— Binghamton, N.Y. Dec. 10-21—Imaginative paintings, J. Paget Fred- To Dec. 20—American printed silks. ericks; miniature paintings, Eulabee Dix (Becker). ART GALLERY OF THE PUBLIC LIBRARY— Dec. 21-Jan. 19—Chicago World’s Fair posters. To Dec. 14—Little pictures, local artists; paintings, GREENER ART GALLERY— Dec.—Paintings and sculptures, W. D. Paddock; Indefinite—Old and modern masters. Lee Brown Caye and Wanita Smith. small bronzes, American sculptors. HACKETT GALLERIES— Cincinnati, O. Brooklyn, N.Y. To Dec. 28—Portraits by Leopold Seyffert. TRAXEL ART CO.— BROOKLYN MUSEUM— HARLOW, MCDONALD & CO.— To Dec. 7—Paintings, J. H. Sharp. Jan. 7-30—14th annual exhibition of Brooklyn So- To Dec. 14—Fine English Sporting prints in color. ciety of Etchers. Closing date, Dec. 12. Address Dec.—Etchings, Auguste Lepére. Jan. 6-18—Paintings, John Rettig. CLOSSON GALLERIES— John Taylor Arms, Fairfield, Conn. HEERAMANECK GALLERIES— Jan. 6-18—Paintings, Paul Ashbrook. To Dec. 15—Modern Norwegian prints. Indefinite—Asiatic works of art. Dec. 2-Jan. 2—Walter Shirlaw memorial exhibition ; THE GALLERY OF P. JACKSON HIGGS— Cleveland, O. work of John R. Koopman and his Brooklyn Indefinite—Paintings by Old Masters. CLEVELAND MUSEUM OF ART— Institute pupils. HOLT GALLERY— To Dec. 10—French art since 1800. Buffalo, N.Y. Dec. 3-28—Christmas exhibition; small paintings, Dec. 18-31—Far East art; Spanish and Portuguese ALBRIGHT ART GALLERY— Chauncey Ryan, etc. silks, XIIIth through XVIth century. Dec.—Elihu Vedder memorial exhibition (A.F.A.). INWOOD POTTERY STUDIO GALLERIES— GUENTHERS— To Dec. 16—Sculpture, Numa Patlagean; Thumb Indefinite—Exhibition of pottery. Dec.—Important paintings Box exhibition, Buffalo Society of Artists. FREDERICK KEPPEL & CO.— Columbus, O. Elmira, N.Y. Dec.—Color prints. GALLERY OF FINE ARTS— ARNOT ART GALLERY— KLEEMANN-THORMAN GALLERIES— Dec.—Columbus Art League exhibition; early Ameri- Dec.—Memorial exhibition for Prof. George Ray Dec.—Etchings by contemporary artists. can glass. Chamberlain. KENNEDY & Co.— UNIVERSITY CLUB (SENECA HOTEL)— New York, N.Y. Dec.—Etchings and dry points. Dec.—Permanent collection. KLEINBERGER GALLERIES— METROPOLITAN MUSEUM— BEXLEY LIBRARY— Dec.—Exhibition of paintings. Dec.—Selected paintings, Columbus artists. Dec.—Chinese painting; English embroideries; Mod- M. KNOEDLER & CO.— ern prints; selected prints from museum collection. Dec.—English sporting prints. Toledo, O. TOLEDO MUSEUM OF ART— To Jan. 20—Adelaide Alsop Robineau memorial KRAUSHAAR GALLERIES— Dec.—Selected American paintings; paintings, exhibition of porcelains. Dec. §-Jan. 3—Water colors, etchings and litho- AGNEW GALLERIES— graphs, American artists. Alfonso de Grosso; loan exhibition of early and modern prints. Dec.—Paintings by contemporary British artists. JOHN LEVY GALLERIES— MOHR ART GALLERIES— ARTHUR ACKERMANN & SON— Dec.—Permanent exhibition of old and modern paint- Dec.—Old and modern prints of New York; Old ings. Dec.—Important paintings. English China. LITTLE GALLERY— Youngstown, O. AMERICAN FINE ARTS SOCIETY— Dec.—Important paintings. BUTLER ART INSTITUTE— **Dec. 7-26—New York Water Color Club and Ameri- MACBETH GALLERY— Dec.—Paintings, Max Bohm; prints, Leo J. Meissner. can Water Color Society’s combined exhibition. To Dec. 9—Paintings, Charles H. Davis, N.A. AINSLIE GALLERIES— Norman, Okla. Dec. 3-24—Etchings suitable for Christmas gifts. Dec. 2-14—Portraits, Margaret Fitzhugh Browne. UNIVERSITY OF OKLAHOMA— Dec. 10-23—Water colors, J. Olaf Olson. Dec. §-30—Prints, Eric Gill. AMERICAN-ANDERSON GALLERIES— MILCH GALLERIES— To Dec. 7—Paintings, Prince Karageorgevitch and Montreal, Que. Dec. 2-21—Paintings, Maurice Fromkes. Arthur M. Hazard. ROLAND MOORE GALLERIES— MONTREAL ART ASSOCIATION— Dec. 9-21—Paintings of big game, Major A. Rad- Dec.—Ruth Teschner Costantino exhibition of antique Dec.—Annual All-Canadian exhibition. clyffe Dugmore; decorative screens and wall furniture, textiles and works of art. Portland, Ore. panels, Florence Waterbury; paintings for chil- MONTROSS GALLERY— PORTLAND ART ASSOCIATION— dren, Henry R. Beekman. Dec.—Exhibition of paintings. Dec. 26-Jan. 7—International exhibition of School ARDEN GALLERY— MORTON GALLERIES— children’s work. Dec.—Water colors and black and white sketches, To Dec. 9—Pastels and drawings, Harry Carlson. Roy Brown. Easton, Pa. Dec. 9-30—Paintings, Irene Standish, Dorothy Jones, ART CENTER— EASTON SCHOOL MUSEUM— Doris Rosenthal. To Dec. 7—‘‘Safari’”’ silk prints. Dec. 14-18—Children’s paintings. NATIONAL ARTS CLUB— Dec. 2-14—Paintings, Leonid Brailowsky; designs Dec. 4-26—Decorative arts. Philadelphia, Pa. and water colors, Winifred Jackson. J. B. NEUMANN— ART ALLIANCE— Dec. 9-21—Poster and advertising cards. Dec.—Living art and International moderns. To Dec. 15—Exhibition of Cowan pottery. ART CENTER—OPPORTUNITY GALLERY— Dec. 2-23—Water colors, William Starkweather. To Dec. 12—Exhibition of young artists work. NEWHOUSE GALLERIES— To Dec. 7—Modern French exhibition. Dec. 5-23—Memorial exhibition, Arthur B. Davies. ARTS COUNCIL— Dec. 9-31—Sculpture, Miss Blundell. Dec. 8-Jan. 3—Exhibition of Phila. metal workers. Dec. 10-29—Etchings and block prints, American ART CLUB OF PHILA.— artists. N.Y. HISTORICAL SOCIETY— To Feb, 28—Photographs of theatrical celebrities, Dec. §-25—Landscapes, Edward W. Redfield. To Dec. 9—Arko ceramics; water colors, Horace R. LITTLE THEATRE OF MOTION PICTURE GUILD— RALPH M. PEARSON STUDIO— Bishop. Dec. 22-Jan. s—Monotypes, Ot Schmidt. Indefinite—Modern hand hooked rugs by American BABCOCK GALLERIES— PENN ACADEMY OF FINE ARTS— To Dec. 14—Paintings and water colors, Elso N. artists. **To Dec. 8—27th annual exhibition of Phila. Water Daglish. PORTRAIT PAINTERS GALLERY— Color Society; 28th annual exhibition of Penn. Dec. 16-31—Water colors, Harry Brown. Indefinite—Portraits by 20 American artists. Society of Miniature Painters. BELMONT GALLERIES— POTTERS SHOP— PHILA. SKETCH CLUB— Dec.—Permanent exhibition of Old Masters. To Dec. §—Decorated pottery, H. V. Poor; ceramics, **To Dec. 7—Penn. Academy of Fine Arts’ Fellowship BRUMMER GALLERIES— Carl Walters. Water Color Annual. To Dec. 13—Contemporary paintings. PUBLIC LIBRARY, PRINTS DIVISION— Dec. 9-21—Christmas sale. BUTLER GALLERIES— To Dec. 15—Etchings, H. B. Shope. PLASTIC CLUB— Dec.—Etchings by contemporary etchers; exhibition REINHARDT GALLERIES— Dec.—Small oil paintings. of antiques and picture frames. To Dec. 7—Paintings, Edward Bruce. PRINT CLUB OF PHILA.— CATHERINE LORILLARD WOLFE ART CLUB— Dec. 9-31—Cld Masters and modern French masters. To Jan. 4—2nd International exhibition of prints. Dec.—Small pictures and crafts. ROERICH INTERNATIONAL ART CENTER— Pittsburgh, Pa. BROWN-ROBERTSON co., INC.— Dec.—Modern paintings, George S. Hellman collec- CARNEGIE INSTITUTE— Ind¢finite—Color prints by American and British tion; paintings, Devitt Welsh; Old Masters To Dec. 8—28th ‘Carnegie Institute International. “artists; paintings. permanent exhibition. Dec. 18-Jan. 19—19th International exhibition of GivIC CLUB (18 E. 1oth St.)— ROBERTSON-DESCHAMPS GALLERY— water colors. Te bec. 15—Etchings, drawings, Harry Wickey. Dec.—Exhibition of paintings. Dec. 15-Jan. 25—25th exhibition of American prints. The Art Digest, rst December, 1929 = 331 _—_—_ J. J. GILLESPIE CO.— Fort Worth, Tex. Dec. J-15—Paintings, E. W. Redfield. FORT WORTH MUSEUM OF ART— Providence, R.I. To Dec. 31—Permanent exhibition. RHODE ISLAND SCHOOL OF DESIGN— Houston, Tex. Dec.—Drawing, Mestrovic; London Underground MUSEUM OF FINE ARTS— posters. - Dec.—Southern States Art League, A. and B. circuits ; OurfriT FOR TILDEN-THURBER— National Scholastic Awards exhibition. HAND PRINTING | To Dec. 14—H. Anthony Dyer. LITTLE GALLERY— St SPL NATHANIEL M. VOSE— Dec.—American paintings and sculpture. To Dec. 7—Wood block prints in color, Eliza D. and HERZOG GALLERIES— t Gardiner. Dec.—Important paintings and etchings. Dec. 9-Jan. 1—Paintings by American masters; etch- ings and drawings, foreign and American artists. San Antonio, Tex. Chattanooga, Tenn. SAN ANTONIO ART LEAGUE— To Dec. 7—Paintings, Nan Sheets. MEMORIAL AUDITORIUM— : Dec. 7-28—Paintings, Ernest L. Blumenschein. Jan. 14-28—Pictures of Charleston, Alice H. Smith. ATELIER GALLERY (622 Ave. E.)— - Dallas, Tex. Dec.—Paintings, Hugo D. Pohl. PUBLIC ART GALLERY— MILAM GALLERIES— Dec.—Modern French art. Dec.—Paintings, J. H. Sharp; etchings, Pop Hart, Dec. 15-30—International exhibit of school art. Anne Goldwaithe, Charles Locke. HIGHLAND PARK GALLERY— WITTE MEMORIAL MUSEUM— Dec.—Indian arts and crafts, Fred and Edith K. Dec. 1-15—Paintings, Nan Sheets. um, Nagler. Dec. 15-31—Paintings, Ernest L. Blumenschein, Japanaqua Handprinting colors Beaumont, Tex. Salt Lake City, Utah TYRRELL PUBLIC LIBRARY— NEWHOUSE HOTEL— and Accessories [ith Dec.—Japanese prints (A.F.A.). Dec. 1-8—Lee Greene Richards. HOTEL BIGELOW GALLERY— | Illustrated Leaflet ““A-D”’ sent on request Dec.—Paintings by American artists. Seattle, Wash. tog- PELICAN WORKS-GUNTHER WAGNER Inc. ART INSTITUTE OF SEATTLE— | 34 East 23rd Street New York Dec.—Exhibition of paintings and sculpture. BLOCKX COLORS UNIVERSITY OF WASHINGTON— Dec. 5-20—International school exhibit, Foreign ints section. “VAL’S” OIL, WATER AND Dec.—Work of Anna Head School students. POWDER COLORS Buckhannon, W. Va. PORTABLE ETCHING PRESS ART DEPARTMENT, WOMAN’S CLUB— “The finest in the World— Dec. 5-12—Metropolitan loan collection (A.F.A.). Standard of the Colormen” Madison, Wis. MADISON ART ASSOCIATION— d'Outr Artists’ Dec.—Color etchings, Bernard Boutet de Monvel. Milwaukee, Wis. Belgian Canvas MILWAUKEE ART INSTITUTE— ck ; Fils, Terwagn¢ Dec. 2-21—Soap sculpture; Hoosier water color show; (Belgique) Thirty different weaves 20 small sculptures, Gorham Co. and surfaces. LINEN and Dec. 21-31—Antique textiles of XVIth to XIXth COTTON from 17 in. to 20 centuries, Edgar Ashley. feet and 4 in. wide. MILWAUKEE JOURNAL GALLERY— Dec. 1§-Mar. 1—Oils by Wisconsin artists; water Special List of colors, Frederick Grant. Absorbent Canvases LAYTON ART GALLERY— To Dec. 4—Ernest Copeland collection of paintings. Write for Price List Oshkosh, Wis. and Sample Book OSHKOSH PUBLIC MUSEUM— ese Dec.—Oils, Stanley Woodword. Manufacturers and Importers ERNST H. FRIEDRICHS, Inc. Built for life-time wear. Steel Rollers; Steel Table. Large size press accommodates paper up to 129-131 WEST 31st ST., NEW YORK “Mr. Punk Pigment” 26. dnchan Wide. PVE. cccccccsessccceeuscsscice $100.00 Many persons in November went to the Small size press accommodates paper up to eri- 10 inches wide. Price .....cccccccccccccscccsce $70.00 Berkeley Art Museum, took a look around, then asked somebody in charge where they THE PALETTE ART CO. DO YOU WANT TO FOSTER THE could find the exhibition of paintings by Mr. 327 FIFTH AVE. NEW YORK Write for Circular on Etching Tools and Materials TALENT OF SOME CHILD Punk Pigment. On being told that the mu- THIS CHRISTMAS ? seum knew of no such exhibition and no igs, LET US SUGGEST: such painter, some of them pulled THE Art and For Poster Work DiceEst out of their pockets and pointed to COLOR WORK Junior Poster Craft at $1.00 a Berkeley line in the calendar reading “Nov. Large Poster Craft at 2.00 —Paintings by Punk Pigment.” LIGHT For Design Work Approved School of Design Colors at 1.00 Mildred McLouth, the curator, wrote a ner, Design Craft Set at 2.00 patient sort of letter to THe Art Dicest, and used These sets sent by insured, prepaid saying: “Are the paintings by ‘Punk Pig- by many parcel post on receipt of check. ment’ so announced in our calendar a joke prominent The MARTINI ARTISTS COLOR or what? Can you give me an explanation Artists. EAB OR A TF © B.--S5 of this item which, I assure you, never came Other lamps shown 97-99 Harris Ave., 3. 3: Gey, &:-¥. from the Berkeley Museum. ‘Punk Pigment’ in Free Booklet ea & weenmeenmenmtets es eee cEmamueneeeee might be a sobriquet well fitting many of Macbeth Daylighting Co., Inc. ool our modern painters, but aside from that, I 231 West 17th St., New York know nothing about the insertion made in our November announcement.” Not only Miss McLouth but all of Cali- fornia is entitled to an explanation. If the editor of THE Art Dicest is writing a let- ter to be sent to a group of art lovers he has Artists’ Materials the queer habit of addressing the one used as Colors—Brushes—Canvas a model by the typists to “Mrs. Badde Tayste.” If the letter is to a group of art from the dealers he is likely to write “Mr. Gette Manufacturer and Importer ater nn. Coyne.” If to a list of artists it is likely to be “Mr. Spoyle Kanvass,” or something like ERWIN M. RIEBE CO. hip it. Now, before going to press with the firs* 49 East gTH STREET Est. aie Plaza 3457 November number he had occasion to dem- 159 East 6oTn St., N. Y. C. onstrate something to a printer and he wrote J. GREENWALD, Inc. Regent 4721-4722 Factory Maspeth, N.Y. “Nov.—Paintings by Punk Pigment.” Some- 940 3rd Ave., at $7th St., N.Y. how or other it found its way into type and ARTISTS’ MATERIALS into the Berkeley calendar entry. The editor PICTURES FRAMED The advertising columns of THE ART is sorry. He will try to cure himself of what All Work on Premises Dicest have become a directory of dealers of evidently is a “badde habytt.” in artists’ supbdlies. 32 The Art Digest, rst December, 1929 Boardman Robinson Depicts “Trade” for Department Store

First Mural—The Persians and the Arabs—The First Primitive Bartering Between Head of Portuguese Trader in Egypt and Asia. India, from Fourth Mural.

A most significant contribution to Ameri- | mural he has kept loosely to the costume of America—The Eighteenth Century,” The ~ can art, nine mural paintings by Boardman | the period, omitting details that would tend Clipper Ship Era—The Middle of the Nine- Robinson, depicting the history of commerce | to distract attention from the whole pictorial teenth Century” and “Commerce and Indus- through the centuries, the result of more | structure, and avoiding too great an emphasis try in the United States—The Twentieth than two years’ work, will be on exhibition upon personages. The paintings average 15 Century.” at the Art Students’ League Gallery, New | feet in length by 8 in height, the figures be- Boardman Robinson first studied art at York, Dec. 1 to 16. The paintings were com- ing heroic in size. The work is conceived in the Massachusetts State Normal Art School missioned by the Kaufmann Department | the spirit of architecture rather than illustra- and then went to Paris. On returning to Store, Inc., Pittsburgh, and after the present tion, forming a patterned panorama of the America he was associated with Bruce Por- showing will be placed on the ground floor | growth of commerce. ter in doing a number of mosaic windows there, where a perfect setting has been pre- The series will be placed in the following on the Pacific coast. Later he became art pared for them. | order: “The Arabs and the Persians—Be- director of Vogue. Then William E. Lewis, In the nine murals, Robinson has divorced | fore the Christian Era,” “The Carthaginians editor of the New York Morning Telegraph, himself completely from the conventional | in the Mediterranean—Dawn of the Christ- gave him a free hand in his first vital job as 7 literary or story-telling point of view. He ian Era,” “The Venetians in the Levant— cartoonist and illustrator. Since then Robin- — has attempted to symbolize the various End of the Middles Ages,” “The Portu- son has done drawings and cartoons for the epochs in the pageant of commerce in terms |. guese in India—The Fifteenth Century,” Liberator, The Masses, Harvey's War Week- of design, color and three dimensional form, “The Dutch in the Baltic—The Sixteenth ly, and occasional illustrations. During the and has endeavored to appeal to the people | Century,” “The English in. China—The last eight years he has been experimenting in general rather than to the artist. In each Seventeenth Century,” “Slave Traders in with the problems of mural decoration.

Second Mural—The Carthaginians in the Mediterranean—Dawn Tenth Mural—Trade and Commerce in the United States—The of Christian Era. Twentieth Century.

up considerable discussion in the islands. and there is unmistakable evidence of the Hawau’s Annual Thirty-six artists and etchers exhibited growth of a live and progressive attitude in The Carnegie Institute hung Edwin W. 105 pictures. Among the new exhibitors the arts.” Dickinson’s “The Fossil Hunters” up-side- were Adelaide Morris, head of the art de- Those exhibiting were: partment at the University of Hawaii, and H. M. Luguiens, Mrs. Alice K. Campbell, Shirley down, the National Academy of Design Russell, Yasuo Kuboki, Juanita Vitousek, Madge hung the same picture sideways and now H. H. Rempel, also of the university, who Tennent, Jerry Chong, D. Howard Hitchcock, Isami painted “The Undertaker.” Clifford Gessler Doi, Trevor Haddon, R.B.A., Genevieve Lynch, A Tue Art Dicest finds that the Star-Bulletin MacLeod, Anna Woodward, Arthur W. Emerson, of far-away Honolulu has joined the “art of the Star-Bulletin wrote: “Growth is evi- C. 8. Marek, Lionel Walden, W. Twigg-Smith, Sunao dent; greater variety in the exhibition as a Hironaka, Verna Tallman, Adelaide Morris, H. H. at any angle” movement by reproducing Rempel, Jessie Shaw Fisher, May Haley Bothwell, whole; increase in vigor and in command H. H. Rempel’s “The Undertaker,” one of Helen Isenberg zur Helle, A. R. Gurrey, Helen of the medium on the part of many of the Hitchcock, J. B. Freitas, Fanny McKenzie, Jack the pictures in the second annual exhibition Love, Josephine Soper, Hilda Maser, Mrs. Mary artists, ... Roberts, Earl Schenck, J. I. Whittle, Amelia Coats, of the Association of Honolulu Artists, bot- “The exhibition indicates a general im- Juliette May Fraser. tom-side-up. Rempel’s abstract arrangement, provement, with some striving for new which on close inspection takes the form of means of expression, some indications of Synonyms an undertaker in high silk hat and frock coat transition periods out of which artists may Criticism is synonymous with cynicism to surrounded by various symbols, has stirred develop individual and more effective styles, the average artist—Le Baron Cooke,