THE MILCH GALLERIES

YORK

THE MILCH GALLERIES

IMPORTANT WORKS IN PAINTINGS AND

BY LEADING AMERICAN ARTISTS

108 WEST 57TH STREET Edition limited to One Thousand copies

This copy is No

1 his Booklet is the second of a series we have published which deal only with a selected few of the many prominent American artists whose work is always on view in our Galleries. MILCH BUILDING I08 WEST 57TH STREET

FOREWORD This little booklet, similar in character to the one we pub­ lished last year, deals with another group of painters and sculp­ tors, the excellence of whose work has placed them m the front rank of contemporary American art. They represent differen tendencies, every one of them accentuating some particular point of view and trying to find a personal expression for personal emotions. Emile Zola's definition of art as "nature seen through a temperament" may not be a complete and final answer to the age-old question "What is art?»-still it is one of the best definitions so far advanced. After all, the enchantment of art is, to a large extent, synonymous with the magnetism and charm of personality, and those who adorn their homes with paintings, etchings and of quality do more than beautify heir dwelling places. They surround themselves with manifestation of creative minds, with clarified and visualized emotions that tend to lift human life to a higher plane. _ Development of love for the beautiful enriches the resources of happiness of the individual. And the welfare of nations is built on no stronger foundation than on the happiness of its individual members. Things that are material tend to differen­ tiate us, things of the spirit bring us together. Art m its deepest appeal is spiritual, its ethical importance goes hand m hand with

^elhl-rbefore mankind is looking to the New World not only for material help, but for guidance and eadership. Our country will be ill equipped to fill its destined place m the historv of the world, if it continues to show an attitude of amaz- fng ndiffe encl in matters esthetic. The manifestations of an uncultivated taste, so rampant on our Mam S reets, as well as m side streets, front yards and homes, should no longer^ be covered with the cloak of the time-worn excuse that this is a young country." We are mature enough to realize that mental hygiene is just as necessary as physical sanitation, that it is something more than good pavements and an able police force which makes a city an asset on the balance sheet of evolution. A community and a nation which does not give a considerable amount of interest, time and wealth toward the finer and spiritual things of life,, are of small weight when it comes to a final valua­ tion. Shall it be said that the American people are blind to their duties and privileges in the realm of art? Shall our genera­ tion shoulder the stigma of having failed to patronize the art of our own country and the creative artists of our own times?

WILLIAM RITSCHEL, N.A. "Land and Sea" 36 x 48 inches A remarkable sense of space, of distance and great depths are suggested in this lovely West-coast marine. The late afternoon sun sends a glow across the side of the mighty cliff which bravely has stood the bombardment of tides and waves for untold ages. The now detached pinnacle in the foreground, stands a witness and a prophet of the great forces of nature. A mist which blows up from the grey blue sea gives a spiritual quality that causes the beholder to muse on the inspiring symphonies in the great universe. William Ritschel was born 1864 in Nuremberg, . Elected an Associate of the National Academy of Design in 191 o and an Academician in 1914. His awards include: Honorable mention, Salmagundi Club, N. Y. Honorable mention, Carnegie Institute, , 1912. , National Academy of Design, N. Y., 1913. Gold medal and $1,000 prize, National Arts Club, N. Y., 1914. Gold medal, Panama-Pacific International Exposition, San Francisco, 1915 Gold medal, State Fai , Sacramento, Cal., 1916. Gold medal, Art Club, 1918. Represented in the following permanent collections: Pennsylvania Academy of the Fine Arts, Philadelphia; Art Institute; City Art Museum, St. Louis; Detroit Art Club; Ft. Worth (Tex.) Museum. "No theme could be better suited to Ritschel's art than is the magnificent coast of California, and no artist better fitted for worthily presenting the theme. Here is a perfect land of beauty and charm unsurpassable, and an art of perfect poise, gracious in its handling of form and color. A big rugged country and a big vigorous art, a lovely country and a colorful art, equal to the task of presenting the majesty and beauty of cliff and cypress and the stress or joy of the sea." (E. M. STUART in Fine Arts Journal, July, 1916.)

ALBERT L. GROLL, N.A. "Land of the Navajo, Arizona" 30 x 25 inches While this canvas is comparatively small, the effect of vast distances through the clear atmosphere gives the impression of a much larger picture. The shapes of great cloud shadows find their way on the flat desert land and serve to throw the rugged hills into darker against the sky. A giant finger of sunlight falls upon a distant pink mesa which gives a strong note of color. The immediate foreground and mesas are covered with vegetation and desert flowers. Albert L. Groll was born 1866 in New York. Elected an Associate of the National Academy of Design in 1906 and an Academician in 1910. Among his awards are: Morgan prize, Salmagundi Club, N. Y., 1903. Shaw prize, Salmagundi Club, N. Y., 1904. Silver medal, St. Louis Exposition, 1904. Sesnan Gold medal, Pennsylvania Academy of the Fine Arts, 1906. Bronze medal, International Exposition, Buenos Aires, 1910. Silver medal, International Exposition, Santiago, 1910. Inness Gold medal, National Academy of Design, 1912. Silver medal, Panama-Pacific International Exposition, San Francisco, 1915. Represented in the Art Museums of Washington, D.C., New York, Brooklyn, Boston, Pittsburgh, St. Louis, Minneapolis, St. Paul, Richmond, Ind., Montclair, N. J., Fort Worth, Tex.; as well as in the permanent collections of the National Arts Club, N. Y., and the Lotos Club, N. Y. "Although Groll's earliest work had won him enviable recogni­ tion, the brilliant series of compositions that followed his first trip to the desert firmly established him in the front rank of contemporary landscape painters. . . . Others daring the hardships of the desert, have endeavoured to imitate Groll, but none has ever achieved his masterly and sympathetic interpretation of the lonely lands of Arizona. . . . He is the first painter to bring to us the epic grandeur of the Western plains." (CHARLES H. PARKER in The International Studio, June, 1918.) MMB RICHARD E. MILLER, N.A. "Her Leisure Hour" 34 x 36 inches The pleasant atmosphere of a comfortable morning room is the setting for this attractive young woman who has paused in the occupation of the day to rest in a gaily painted chaise-longue. The deep turquoise blue of the chair is the predominating note in the color scheme, which is further enhanced in the deep tones of purple in the young woman's silk blouse. The fan which she leisurely regards, affords warm tones of rose which are repeated in the draperies of the dressing table. A Chinese porcelain princess and a box with jewels add strong notes of green, rose and purple which are repeated in the mirror beneath the reflection of the face of the fair sitter. The slanting lines of a Venetian blind, against the summer sunshine, give a sense of rakish abandon to the informality of the room.

Richard E. Miller was born 1875 in St. Louis, Mo. He was elected an Associate of the National Academy of Design in 1913 and an Academician in 1915. His awards include: Third medal, Paris Salon, 1900. Bronze medal, Pan-American Exposition, Buffalo, 1901. Silver medal, St. Louis Exposition, 1904. Second medal, Paris Salon, 1904. Second medal, Exposition at Liege, 1905. Knight of the Legion of Honor, , 1908. , Pennsylvania Academy of the Fine Arts, 1911. Potter Palmer Gold medal, , 1914. Clark prize, National Academy of Design, 1915. Medal of Honor, Panama-Pacific Intern. Exp., San Francisco, 1915. Represented in the following permanent collections: Luxembourg Gallery, Paris; Musee de Petit Palais, Paris; Museum of Fine Arts, Antwerp Gallery of Modern Art, Rome; Modern Gallery of the City of Venice Metropolitan Museum, New York; Corcoran Gallery, Washington, D. C. Pennsylvania Academy of the Fine Arts, Philadelphia; Chicago Art Insti tute; City Art Museum, St. Louis; Albright Gallery, Buffalo; Museum; Detroit Institute of Art. He is also represented in the Royal Museum of Christiania and in the private collection of the King of .

LILLIAN M. GENTH, A.N.A. "In the Birch Grove" 29 x 24 inches The beauty of flesh tones in their satiny qualities of warm light and cool shade against sunlit bowers of green is the theme upon which this artist has ever been wont to improvise. Sylvan glades are the haunts where cooling waters are the excuse for a refreshing dip, or a sunbath in the clearing near a waterfall.

Lillian M. Genth was born in Philadelphia and studied at the Philadelphia School of Design for Women, as well as with Whistle- in Paris. She was elected an Associate of the National Academy of Design in 1908. Her awards include: Mary Smith prize, Pennsylvania Academy of Fine Arts, 1904. Shaw Memorial prize, National Academy of Design, N. Y., 1908. Bronze medal, International Exposition, Buenos Aires, 1910. First Hallgarten prize, National Academy of Design, N. Y., 1911. Bronze medal, National Arts Club, 1913. Represented in the Art Museums of Washington, D. C, New York, Brooklyn, Philadelphia, Pittsburgh, Rochester, N.Y., Grand Rapids, Mich., as well as in the permanent collections of the National Arts Club, N. Y., the En­ gineers' Club, N. Y., and the Muncie (Ind.) Art Association. "Lillian Genth is a realist in the study of form, with a refinement of imagination which holds her paintings to the sunny and innocent side of joyousness, or to tranquility in a state of nature—so there be life there, life as embodied in the human figure. . . She has fashioned her own career through persevering independence. One never likens her work to any one else's." (DANA H. CARROLL in Arts and Decoration, December, 1912.)

GEORGE BELLOWS, N.A. "Easter Snow" 30 x 44 inches We feel a sense of exhilaration and amusement at this breezy offering from the masterly and facile brush of this artist. It has the moving qualities of a comedy which slips from one phase to another with jocular ease. Winter in the lap of Spring, indeed! Spring finery, and mocking nature attempting to spoil the parade of humanity "all dolled up." But the sudden snow did not surprise the agile minded and swift fingered artist who has recorded a delightfully transitory phase of the out of doors, in a city park.

George Bellows was born 1882 in Columbus, Ohio. He was elected an Associate of the National Academy of Design in 1908, and an Academician in 1913. His awards include: Second Hallgarten prize, National Academy of Design, 1908. Sesnan Gold medal, Pennsylvania Academy of Fine Arts, 1913. First Hallgarten prize, National Academy of Design, 1913. Gold medal, Panama-Pacific International Exposition, San Francisco, 1915 Harris Bronze medal and $300, Chicago Art Institute, 1916. Temple Gold medal, Pennsylvania Academy of Fine Arts, 1917. Landscape prize, Newport (R. I.) Art Association, 1918. Silver Medal and $500, Chicago Art Institute, 1921. Represented in the Art Museums of New York, Philadelphia, Pittsburgh, Chicago, Columbus, O., Toledo, O., Providence, R. I., Detroit, and Savan­ nah, Ga., as well as in the Ohio State University (with three portraits) and in the National Arts Club, N. Y. "In the years since Mr. Bellows's first exhibition he has evolved a language which is definitely his own. Like a good many Americans—and to a greater degree than most—he possesses an executive ability which lends to anything from his brush an element of conclusiveness, so that we realize, in any instance, that the plan of action was well conceived and carried out with facile mastery. ... In color, in design, in drawing, he has attained an elasticity that our more constrained painters would be justified in coveting." (New York Tribune, March, 1917.)

SIDNEY E. DICKINSON, A.N.A . "Portrait oj Adolpho Best-Maugard" . 36 x 31 inches The subject of this portrait study is himself an artist, living in Mexico, who has proven a sympathetic sitter to his friend from the north. Intelligence and high breeding are expressed in the features of the face, the graceful lithe figure and the character revealing hand. The color of the flesh tone is cool, and the coat is dark blue against a gray green sky. A brown glove gives a note of warmer color.

Sidney E. Dickinson was born 1 90 in Wallingford, Conn. He studied under Bridgeman, Douglas Volk and William M. Chase. Elected an Associate of the National Academy of Design in 1921. He was awarded the Third Hallgarten prize at the National Academy of Design in 1917, and is repre­ sented in the permanent collections of the Corcoran Gallery, Washington, D. C, the Chicago Art Institute, and the City Art Museum of St. Louis, in the latter collection with two examples of his work. "This artist is versatile and has bigness of vision. He also has the faculty of 'getting his message over,' which in itself dis­ tinguishes him." (LULU MERRICK in The Spur, New York, March, 1919.)

ROBERT SPENCER, N.A. "The Green River" 30 x 36 inches Technique as obvious but personal in character as that which this artist has evolved is a most legitimate means to an end. Using as he does short brush strokes which overlap, a sense of vibration of color and light is secured without sacrificing the feeling of bulk or volume, rather the contrary. There is a quaint severity about the white buildings which he managed by some magic to make very interesting. The river moving quietly on is a mirror for the harmony in green and white.

Robert Spence' was born 1879 in Harvard, Nebraska. The National Academy of Design elected him an Associate in 1914 and an Academician in 1920. His numerous awards include: Second Hallgarten prize, National Academy of Design, N. Y., 1913. Sesnan Gold medal, Pennsylvania Academy of the Fine Arts, 1914. Inness Gold medal, National Academy of Design, N. Y., 1914. Gold medal and $l,oco Purchase prize, Boston Art Club, 1915. Gold medal, Panama-Pacific International Exposition, San Francisco, 1915 Harris Bronze medal and $300 prize, Art Institute of Chicago, 1919. Second Altman prize, National Academy of Design, N. Y., 1920. Second Altman prize, National Academy of Design, N. Y., 1921. Salmagundi Club Members Purchase prize of Si,000, New York, 1921. Represented in the Art Museums of New York, Washington, D. C, Boston Chicago, Detroit and Memphis, Tenn., as well as in the permanent collec­ tions of the National Arts Club, N. Y., and the Athletic Association, Pitts­ burgh. "Robert Spencer strongly accentuates the human element in landscape in his famous village scenes which tell of mill and home and which even extract beauty by reason of their tonal values out of those things that in life may seem sordid to the passerby.. . . He has made this human feature of things his own, to his great success." (HARVEY M. WATTS in Arts and Decoration, July, 1921.)

DANIEL GARBER, N.A. "Spreading Oak" 28 x 30 inches Anyone who loves trees will enjoy this splendid painting of a spreading oak which rises from a rocky ground covered with mellow red gold leaves. The drawing of the branches, which crawl through space and blend at times with distance, at times with the warm gray blue sky, is interesting and beau­ tiful. The background is subordinated and very simple. It is brownish grey and has only one strong break—that of a hint of the blue Delaware River, which is contrasted by the sunlight on a few Pennsylvania houses down below the hill.

Daniel Garber was born 1880 in North Manchester, Ind. He is a member of the faculty of the Pennsylvania Academy of the Fine Arts. The National Academy of Design elected him an Associate in 1910 and an Academician in 1913. His very numerous awards include: First Hallgarten prize, National Academy of Design, N. Y., 1909. Bronze medal, International Exposition, Buenos Aires, 1910. Potter Palmer Gold medal, Art Institute of Chicago, 1911. Second Clark prize and Silver medal, Corcoran Gallery of Art, Washington, D. C, 1912. Second Altman prize, National Academy of Design, N. Y., 1915. Gold medal, Panama-Pacific International Exposition, San Francisco, 1915. First Altman prize, National Academy of Design, N. Y., 1917. Temple Gold medal, Pennsylvania Academy of the Fine Arts, 1919. Represented in the Art Museums of Washington, D. C, Philadelphia, Pitts­ burgh, Chicago, Cincinnati, St. Louis, Providence, R. I., St. Paul, Los Angeles, University of , and in the permanent collection of the National Arts Club, New York. " Garber's greatest genius is really revealed in his wonderful grasp of the varying tones of trees, in full and free sunlight, under crystalline skies, and his seizure of the essential in form and color that go to make up nobility in landscape through the beauty of individual trees or tree groups. It is in some of these close vistas seen across the canal bank, that he has gotten at the very heart of American scenery." (HAR­ VEY M. WATTS in Arts and Decoration, July, 1921.)

ERNEST LAWSON, N.A. "Evening, Segovia" 25 x 30 inches Whether this picture was painted at the Spanish hill town or whether it was produced from the imaginative brain of this creative artist matters little, There is so much of truth in it founded upon fact, and so much romantic suggestion combined with realism that one is quite content at the equation. The sky fitfully broods over the landscape. It is in color chiefly green, both light and dark, as in a rich velvet fabric and the opposing russet color of the tiled roofs give a beautiful example of contrasting harmony.

Ernest Lawson was born 1873 in California. The National Academy of Design elected him an Associate in 1908 and an Academician in 1917. His awards include: Silver medal, St. Louis Exposition, 1904. Sesnan Gold medal, Pennsylvania Academy of the Fine Arts, 1907. Gold medal, American Art Society, Philadelphia, 1907. First Hallgarten prize, National Academy of Design, N. Y., 1908. Gold medal, Panama-Pacific International Exposition, San Francisco, 1915. Second Altman prize, National Academy of Design, N. Y., 1916. Second Clark prize ($1,500) and Corcoran Silver medal, Corcoran Gallery, Washington, D. C, 1916. Inness Gold medal, National Academy of Design, N. Y., 1917. First Altman prize ($1 000), National Academy of Design, N. Y., 1921. Gold medal, International Exhibition, Carnegie Institute, Pittsburgh 1921, Represented in the following permanent collections: National Gallery, Wash­ ington, D. C; Corcoran Gallery, Washington, D. C; Phillips Memorial Gallery, Washington, D. C; Metropolitan Museum, New York; Brooklyn Museum; City Art Museum, St. Louis; Art Museum, Montclair, N. J. "Ernest Lawson has a novel point of view for which he has found the unique, predestined expression. If, as I believe, he is a man of genius, it is because he has had the inspiration to find a style so perfectly adapted to his purpose, so wonderfully able to cover his defects and to reveal his best powers, that we feel somehow profoundly satisfied." . . . (DUNCAN PHILLIPS in The American Magazine of Art, May, 1917.)

WALTER UFER, A.N.A. "By the Window" 36 x 30 inches The inspiration for this canvas undoubtedly came from the artist's own life in Taos, New Mexico, but as is always the case in Mr. Ufer's figure work it is in no sense an illustration. The swarthy servitor though an Indian, is of interest to the painter not racially but personally. His attitude toward the model would have been the same had she been a Spanish friend of Zuloaga or such a flaxen haired woman as Zorn delighted in. The well balanced composition gives to the canvas a highly decorative character. The glowing orange and red of the still-life upon the table play well against the sunlit shawl of green which in turn makes delightful harmony with the copper skin and raven hair silhouetted against the cold and brilliant landscape characteris­ tic of the great South-west. The color range of the canvas shows the influence of modern tendencies while the surety of drawing and suavity of brush work proclaim the painter's thorough training.

Walter Ufer was born 1876 in Louisville, Ky., and studied in Chicago, Dresden, Munich and Paris. He is a member of the Chicago Soc. of Artists, the Chicago Palette and Chisel Club, the Salmagundi Club, New York, and he was elected an Associate of the National Academy of Design, New York, in 1920. His awards include: Martin B. Cahn prize, Art Institute of Chicago, 1916. First Frank G. Logan medal, Art Institute of Chicago, 1917. Thomas B. Clarke prize, National Academy of Design, N. Y., 1918. Medal third class, Carnegie Institute, Pittsburgh, 1920. First Altman prize, National Academy of Design, N. Y., 1921. Represented in the Chicago Art Institute, the Brooklyn Museum, the Pennsyl­ vania Academy of the Fine Arts, Philadelphia, and the permanent collection of the Friends of American Art, , Md.

VICTOR HIGGINS, A.N.A. "Calling the Clans" 52 x 56 inches Among the Pueblo Indians all activities come to a focus on hesta day. At Taos, New Mexico, this day comes late in Sep­ tember: the harvest is over and nothing to do until the snow comes and goes, except hunting, visiting and singing—and per­ haps the doing of rituals of which the white man knows little or nothing. Friends come from all directions; caravans from the neighboring Pueblos, cavalcades from the plains. Apaches, Crows, Blackfeet and Navahoes—men, women and children, dressed in gorgeous colors: black, purple, green, orange, tur- quois and silver.—Fiesta day is the subject of this colorful painting by Victor Higgins, a very talented member of the Taos Society of Artists. In the foreground we see two Apaches with their host, a Pueblo, wagons of melons, and ovens still warm from the baking of many loaves of bread. The voice of the little figure on the housetops in the background overcries, from time to time, the din of voices, and apparently unconcerned ears of the listeners. Perhaps the voice cries out an item of general interest, or an order to some one in particular—and, maybe, the voice is raised in calling the Clans.

Victor Higgins was born in 1884 in Shelbyville, . For three years he was a member and the secretary of the Chicago Commission for Encourage­ ment of Local Art. Elected an Associate of the National Academy of Design in 1921. His awards include: Gold medal, Palette and Chisel Club, Chicago, 1914. Municipal Art League purchase prize, Chicago, 1915. Martin B. Cahn prize, Chicago Art Institute, 1915. Butler purchase prize, Chicago Art Institute, 1916. Chicago Society of Artists medal, 1917. Logan medal, Chicago Art Institute, 1917. Hearst prize, Chicago Art Institute, 1917. First Altman prize, National Academy of Design, N. Y., 1918. Represented in the following permanent collections: Municipal Gallery, Chicago; Terre Haute (Ind.) Art Association; Association of Fine Arts, Des Moines, la.; Union League Club, Chicago; Sante Fe Railroad; mural paintings in the Englewood Theater, Chicago.

EDWARD H. POTTHAST, N.A. "The Young Crusaders" 30 x 40 inches The striking feature of this refreshing picture is the use of many contrasting colors, which though strong are nevertheless saturated with a velvety quality that keeps them from being crude. Flesh tones glow in the warm sunshine, while reflected lights and shade cast transparent blue tints in opposition. In the presence of the original picture one has a sense of actually being with the children, so natural and so true is the blue of the sea, and its limpid washing waves playing hide and seek in the rocks.

Edward H. Potthast was born 1857 in Cincinnati, Ohio. He was elected an Associate of the National Academy of Design in 1899 and an Academician in 1906. His awards include: Clarke prize, National Academy of Design, N. Y., 1899. Evans prize, American Water Color Soc, N. Y., 1901. Inness prize, Salmagundi Club, New York, 1904. Silver medal, St. Louis Exposition, 1904. Morgan prize, Salmagundi Club, New York, 1904. Inness prize, Salmagundi Club, New York, 1905. Hudnut prize, American Water Color Soc, New York, 1914. Silver medal, Panama-Pacific International Exposition, San Francisco, 1915. Represented in the following permanent collections: Museum of the Brooklyn Institute of Arts and Sciences; Chicago Art Institute; Cincinnati Museum; Hackley Art Gallery, Muskegon, Mich. "What especially differentiates Mr. Potthast's work is the soundness and sweetness of the mental attitude expressed by it. The children who are dancing on the beaches are wholesome little creatures with exuberant spirits and naturally rhythmic motions. The picnic parties under the shade of enormous umbrellas are composed of people in natural attitudes, pleas­ antly of our own time, and wholly at ease. The compositions always are happy, garlands of color with spacious backgrounds, but the sense of arrangement is successfully avoided." (New York "Times," December, 1918.)

JONAS LIE, A. N. A. "When Days Grow Longer"

The warmth of the winter sun, as the days grow longer, has its telling effect in the ice-bound harbor of this New coast town. The prismatic colors in the picture are suggested even in the accompanying black and white reproduction. Jonas Lie was born 1880 in Norway, but came to this country at a very young age. Elected as Associate of the National Academy of Design in 1912, His awards include: Silver medal, St. Louis Exposition, 1904. First Hallgarten prize, National Academy of Design, New York, 1914. Silver medal, Panama-Pacific International Exposition, San Francisco, I9I5- Greenough Memorial prize, Newport, R. I., 1916. Represented in the Art Museums of Paris (Luxembourg), New York, Brook lyn, Boston, Pittsburgh, Baltimore, Chicago, Rochester, N. Y., Syracuse N. Y., Detroit, Lafayette, Ind., and Dallas, Tex.

GUY C. WIGGINS, A.N.A. "A Quiet Valley" 34 x 40 inches The hills and valleys of the Connecticut River country are the scenes which this artist is now transcribing to canvas with such telling effect. Whether in Spring or Summer, or Fall or Winter, he never has far to go from his own dooryard to find beautiful compositions. A well trained sense of selection is the guiding power to a succession of lovely pictures from his brush The out­ standing feature of "A Quiet Valley" is the beauty of the charac­ terful drawing of the bare trees silhouetted against the sky and rolling hills. Guy C. Wi gins, a son of the famous sheep and cattle painter, Carleton Wiggins, was born 1883 in Brooklyn, N. Y. The National Academy of Design elected him an Associate in 1916. His official awards are: Dunham prize, Connecticut Academy of Fine Arts, Hartford, Conn., 1916. Turnbull prize, Salmagundi Club, New York, 1916. Harris bronze medal and $300 prize, Chicago Art Institute, 1917. Honorable mention, Philadelphia Art Club, 1917. Flagg prize, Connecticut Academy of Fine Arts, Hartford, Conn., 1918. Isidor prize, Salmagundi Club, New York, 1919. Represented in the Art Museums f Washington, D. C, New York, Brooklyn, Chicago, Syracuse, N. Y., Reading, Penn., Muskegon, Mich., and Dallas, Tex. "Guy Wiggins is doing better work each year. There is much in his work, now shown at the Milch Galleries, to admire, little with which one can find fault. The winter scenes are perhaps the best. I was especially struck with the snow scene which is in the center of the left-hand wall, and with the two upright landscapes each side of it. There is much beauty in the three paintings. That in the snow landscape is the easiest to grasp, but that in the two upright landscapes is possibly rarer, finer." (HAMILTON EASTER FIELD in The Arts, Febru­ ary-March, 1921.) Wkf :' MAURICE FROMKES "Her Birthday Dress" 24 x 20 inches Full enjoyment of this picture depends upon one's ability to imagine this pink cheeked little Miss, with a halo of blonde curls against a handsome blue background. The dainty white frock is made gay with touches of embroidery. Any Miss, of no matter what age would be willing to add another year to look half so bewitching. The artist has employed his usual method of modeling the face without the use of strongly contrasted light and shade. A certain simplicity in managing flesh tones finds a foil in the vigorous use of considerable pigment on the remainder of the canvas, which is applied with palette knife, and drawn into with the handle end of the brush. This departure from the usual methods is justified in the refreshing naivete of the work. Maurice Fromkes was born 1872 in Russia. Studied at the National Academy of Design under Ward and Low. He is a member of the Salmagundi Club and the MacDowell Club, N. Y. The Salmagundi Club awarded him the Isidor portrait prke in 1908. His works are to be found in numerous private collections, and also in the Delgado Museum, New Orleans, and in Newcomb College, New Orleans.

HELEN M. TURNER, N.A. "Coral" 50 x 40 inches This picture must be seen to be appreciated for, beside the inteiesting subject matter, the color and particularly the way the color is breathed upon the canvas is its fascination. The flesh tones are softly gleaming in a quite warm gray light. The bits of silver, glass and jewels which constitute the appurtenances of the dressing table are so exquisitely presented that they make a still life rarely fine, which is only outrivalled by the mistress of the boudoir herself, who, in her dainty lingerie and coral neck­ lace, pauses in sweet simplicity to read her book. The qualities of fineness, in perception, feeling, and in color makes of this picture a masterly accomplishment.

Helen M. Turner was born in Louisville, Ky., but her childhood was lived in New Orleans, La. She was elected an Associate of the National Academy of Design in 1913 and an Academician in 1921. The latter honor so far has been bestowed only upon three American women painters: , Lydia Field Emmet and Helen M. Turner. Her official awards are: Elling prize, New York Woman's Art Club, 1912. Agar prize, National Association of Women Painters and Sculptors, New York. Shaw Memorial prize, National Academy of Design, N. Y., 1913. Honorable mention, Chicago Art Institute, 1913. Second Altman prize, National Academy of Design, N. Y., 1921. Represented in the permanent collertions of the Metropolitan Museum, New York, the Corcoran Art Gallery, Washington, D. C, and the Phillips Memorial Gallery, Washington, D. C. "Seldom, indeed, in this country has a woman painter displayed canvasses of such charm, strength and masterly handling, as does Miss Turner. . . . Hers are not works of quickness and dash, but expressions that have been dreamed over, lived with and loved. Nor does she essay to paint with a man's strength; she rather presents her subjects from a refined feminine view­ point and the result is much individual charm." (The Spur, New York, March, 1921.)

HOBART NICHOLS, N.A. "Snowfall" 25 x 30 inches There is nothing repelling about the feeling of winter in this picture. The placing of houses and delapidated fence and over­ hanging bare trees has a cozy sense of arrangement. "Hospit­ able smoke" rises from a crude chimney to let the observer know that someone, no matter how humble he may be, lives there and keeps up the daily rounds of existence. While the color scheme is necessarily limited by the season of the year there is no feeling of the lack of color. The photographic reproduction gives a delightful gamut of tones or values from light to dark.

Hobart Nichols was born 1869 in Washington, D. C. He is a member of the Society of Washington Artists, the Washington Water Color Club, New York Water Color Club, Allied American Artists, Cosmos Club, Salmagundi Club. Fellow of the Pennsylvania Academy of the Fine Arts. Elected an Associate of the National Academy of Design in 1912 and an Academician in 1920. His official awards include: Second Corcoran prize, Washington Water Color Club, 1901. Parsons prize, Soc. of Washington Artists, 1902. Parsons prize, Washington Water Color Club, 1904. First Corcoran prize, Washington Water Color Club, 1906. Turnbull prize, Salmagundi Club, N. Y., 1913. Evans prize, Salmagundi Club, N. Y., 1915. Bronze medal, National Arts Club, N. Y., 1915. Silver medal, National Arts Club, N. Y., 1918. Mr. Nichols was Assistant to the Director of Fine Arts, U. S. Commission, Paris International Exposition, 1900. Represented in the following permanent collections: National Gallery, Wash­ ington, D. C.j Phillips Memorial Gallery, Washington, D. C, Museum of Natural History, New York.

SCULPTURE There is a growing appreciation for sculpture which is gratify­ ing to those interested in the development of the arts in this country. Formerly pieces of sculpture, for decorative purposes in the home, were so pretentious and frequently so elaborate, that they were suitable only in homes designed upon the grand scale. Compared to America, there is no other country today where as much attention is being given to the intelligent decoration of the homes of moderate means. Suitable to our needs, the sculptors are producing charming works of unquestioned art value, which are strongly characteristic and not like those being produced anywhere else. Their choice of themes are interesting and inti­ mate interpretations of human emotions, of moods in nature and impressions of the interpretive dancing and dancers of the time. The sculptors of animal life are, today, as of old, doing both serious and amusing studies which have their place in our modern decoration. Simplicity of mass and significant meaning of contour are the keynotes of the works of our artists who care to take the time to create sculpture in the more diminutive scale. Great atten­ tion is given to the color or patine of the surface of the bronzes. A well selected bit of sculpture has a telling effect, and gives a personal characterful note when placed upon consul and library tables, or the tops of bookcases. The desk may become a suitable setting for pieces of sculpture. The demand for fountain figures for sun-porch and garden pool has stimulated the creation of many delightful pieces of sculpture by the leading American artists. Note: In answer to the enquiries of many who are interested to know how bronze sculptures are produced, the process is the following. The sculptor first models in clay upon a structure of iron and lead which is held together with wire. After the clay model is produced, it is then cast in plaster for permanency, and then in bronze. HARRIET FRISHMUTH "Globe Sun-Dial" In marble and bronze, height 44 inches Perfection of form arising from an exact knowledge of anatomy is a characteristic of this dependable sculptor's work. The purity and beauty of line in this graceful figure maintains at every turn of the contour. The arm which supports the globe would seem to have been taxed with a too great weight, had not the line of the lower limb made a substantial support. The globe has been so set and so marked, that the time of day and night on either hemisphere may be ascertained. Harriet Frismuth was born in Philadelphia. She is a member of the National Sculpture Society. Her awards are: St. Gaudens Prize, Art Students League, 1896. Helen Foster Barnett prize, National Association of Women Painters and Sculptors. Honorable Mention, Panama Pacific Exposition, 1915. National Arts Club prize, Nat'l Ass'n Women Painters and Sculptors, 1920. Among her works are: "Joy of the Waters" fountain, on the grounds of the Dayton Museum of Art, Dayton, Ohio; Sun-dial, "Morning, Noon and Night" at Englewood, N. J.; Sun-dial, Public Square, Mamaroneck, N. Y.

STIRLING CALDER " The Little Dear with the Tiny Black Swan" In two sizes: height, 5 feet; also 29 inches. There is a cunning combination of restraint and playfulness in the semi-classical fountain figure by this noted sculptor. Mr. Calder is especially happy when collaborating with a landscape architect in producing finely imaginative sculptures for the embellishment of the grounds of an estate, or park, with par­ ticular reference to lakes and lagoons. Stirling Calder was born in Philadelphia, the son of the sculptor, . He became a member of the National Academy in 1913; of the National Sculpture Society in 1896. He is a Fellow of the Pennsylvania Academy of Fine Arts and a member of numerous societies and clubs His numerous awards include the following: Gold Medal, Philadelphia, 1893. Honorable Mention, Pan-American Exposition, Buffalo, 1901. Silver medal, St. Louis Exposition, 1904. Lippincott prize, Alaska Yukon Pacific Exposition, 1909. Mr. Calder was acting chief, Department of Sculpture, at the Panama Pacific Exposition, San Francisco, 1915. He executed notable sculptures for the James Deering estate in Florida. The Depew M morial fountain at , Ind., is one of his finest works, other important works include: "Washington Arch Group," Washington Arch, N. Y.; Marble Sun-dial, Fairmount Park, Philadelphia, and numerous monumental works for the exposition grounds at San Francisco, 1915.

MALVINA HOFFMAN "Offrande" In bronze and in marble 29 inches long, 21 inches high, 8 inches wide The sculptor was inspired to do this chaste and beautiful work of art upon reading a poem by Paul Verlaine. The marble was chiseled by the artist herself. For the bronze replica of the original model, the sculptor is the recipient of two important awards, that of the George Widener Memorial Gold Medal, Pennsylvania Academy in 1920, and the Helen Foster Barnett prize at the National Academy of Design in 1921. Perhaps the most advantageous setting in the home for this sculpture, is upon a library table or similar piece of furniture, where the exquisite lines of the figures may be seen at every angle. was awarded: Honorable mention, Paris Salon, 1912. Panama Pacific Exposition. Shaw prize, National Academy, New York, 1918. , Pennsylvania Academy of Fine Arts, 1920. Barnett prize, National Academy, New York, 921. Her work is represented in the Art Museums of New York, Chicago, Detroit, Cleveland and in the Luxembourg Gardens, Paris.

GLEB DERUJINSKY "Odalesque" Height, 19 inches All the works of this talented sculptor have the esprit and feeling of movement and life that characterizes this graceful presentment of a young dancer. With every turn of the little bronze figure a different silhouette is afforded. Beside clever portrait statuettes and figurines the artist devotes himself to the more serious work of portrait busts in bronze and carved wood as well as profoundly ideal groups and life size figures suitable:for the adornment of formal interiors and the grounds of fine estates. The bust of Theodore Roosevelt, by Derujinsky, is considered by many who are competent to judge, to be one of the best yet produced. Glcb Derujinsky was born in Smolensk, Russia, 1888. He studied in Paris under the academicians, Messrs. Injulbert and Vcrlct, and later at the Imperial Academy of Fine Arts in Petrograd. He came to America in 1919. He was made a member of the National Sculpture Society in 1921.* Among his works are: In Europe: Bust of Prince Boris Golitzcn (inventor of the seismograph), in the Academy of Science, in Petrograd; Bust of Grand Duke George Strelitz, Petro­ grad ; Busts of Prince Felix Youssoupoff and his wife, the Grand Duchess Irene, niece of the late Czar; Bronze Statuette of a "Bailerinc," in the Theatrical Museum of Moscow; Portrait Statuette of Countess Suzanne de Robien, in Paris. In America: Bust of Theodore Roosevelt, in the Roosevelt Memorial House; Inter­ national Fencing Matches Trophy, "Hector and Achilles"; "Day and Night" Sundial, on the estate of the Hon. Henry White, Lenox, Mass.; "The Four Elements," in the residence of William T. Grant, Pelham, N. Y. Also represented in collections in New York City, Englewood, Chicago, Colorado Springs, Detroit and Dayton.

*Articles upon the life and works of Gleb Derujinsky may be found in Town and Country November 20, 1920; Country Life, December, 1921, and the November and December, io2r numbers of Vanity Fair. Vogue and the Dial,

JANET SCUDDER "Young Diana" Height 3 feet 9 inches including sphere, entire height including base, 7 feet 6 inches The grace and charm of the very young huntress, as illustrated on the opposite page, is apparent to even the most casual observer. The bronze figure is mounted upon a marble base, which is designed with the hounds of Diana supporting the globe upon which she stands. If this sculptured work is to be used as a fountain, the three bronze frogs supply the source from which the water springs to fall to a circular basin below. The edition is limited to three, the first two having already been placed on estates at Glen Cove, Long Island, and at Cleve­ land, Ohio Janet Scudder was born in Terre Haute, Ind. She is a member of numerous important institutes and societies. Her work was the first by an American woman to be purchased for the Luxembourg, Paris. Her awards include: Medal, Columbian Exposition, Chicago, 1893. Bronze Medal, St. Louis Exposition, 1904. Honorable Mention, Paris Salon, 1911. Sculpture prize, National Academy, 1914. Prize, Woman Painters and Sculptors Society, 1914. Silver medal, Panama Pacific Exposition, San Francisco, 1915. Among her works arc: Frog Fountain, Metropolitan Museum, N. Y.; Fighting Boy fountain, Art Institute, Chicago 111.; Tortoise Fountain, Peabody Institute, Baltimore, Md., besides fountains and figures on numerous pri­ vate estates.