Newspaper Page Text
Malters of ^/Irt
ings by the Late John La Farge.
, remarkable condition of
.. , . ? tlon ? rl -, - unprece?
. g ? ??? ? axhl iltlon
non enough, i ul th? on? of worka
H mi r, n i ? ntly at the M< t
. Mus? im. ; an un
- . ? .- n e Century
I not long ago a group of
the tat Frank Fowler an
f :. . b) I COll? "?
? ? . of the late
v . n Whlttre-dge. in its room?
\rti Building tl- National
? holding an eahlbl
; the late J. Q. A Ward.
- ;>Y FOR ILLUSTRATION TA
?i Mil.hi: ROLAND."
I .. La P rsre.)
ax i Nat Art C there la a
. ? thi to Walter Shir?
ngs, i nd at
. ? - Club a i iber of se?
Th? eel d
: ? ? te John I Farge hsta !?? ? n
n at the Amerli an
Art G ? " -? a hi r'' It la to 1
and 01 ? ni Igl .March
? 0 -1. We do not roca!, ai y
?cm i h artistic . nnala X New
BTTDY. OP a T?r:.\?>.
tr-r~ ??-. ,. drawli g by John La Parce.)
York ? -en marked by so
: ? the sort.
THE CULT OF THE DRAWING.
Ik ? i was
r . ? the arti-ts
-, the hlatoi
ture would to
I - ? pai
? ? . to dip j
?he >?? - con
' : ; 1 igfa the art
? t ..... iwayi
rve their working stud!? s
. ? one? thej hod fln
r . ? tlom there
i rewd oa the gar
Tl ? Frew b, In ths
. |ltl .atl -ii - !' art a- a
namely, In th? ? Ighte? nth j
. ? ? t -.-. inahip on? i *
?r ? v i see It
j - own nu n in thi Ir own
Il m ii.? i- > orda "f
formed. in that
d to ir with his
t back to 1
kt .-? - on|y antique morid? ? and
- i ? ? bul any of
..f til?' 1:
.i. ild la: ''?' B
: ? d ..?iiiK ulii? h the
public than m prl?
Hi ?? and there th<
: ? ,."? II
Berlin I i -
L ndon. win. h, itartlng
with rich j
?' ?' I whatever came Into
?rk. ' and Bted by
,- ,... nt ? i ths <d<l
; fa i en revived
th.- privat-- col?
. en - - k? ' a upon
polntln . i rtntgi
.;? ul thai bodl? I bk<- thS
:?, London .?? i I i ??'"
- in Pari wets
in !.. t. : i fore, n
' ii and 0
* ? ? t ibis
I branch of collecting, why ?ibi Vnanrl
attach auch valus t?> his portfolio..? Be?
?.-ms. he recognised In th'ir conten<ti
perhaps ths most personal expressions
lof the genius <>f ths men he held in
' honor. Marietta, that historic type of
French taate In collecting, us?-?! t?> my
that in I dr iw Ing ?/OU Sun rlsed an artist's
id! a in Its first freshneaa an?i therefore
gol Its very essence. Ths point rarely
need n t be lab? red. i; is obvloui
I enough thai ai the painter ilti brooding
? vi r noms nr? at conception and pr.-;- ntly
; jots it ??own upon paper he ii thus r?
Ifording its essential spirit, iri Iti broad
arrangement and in it? detalla he may
? ssily depart from hli origltu? ak I h,
but In that eketch it is ?,d?!s that you
v. ill gel the very rtoul of hii meaning;
and, above all, you will ??.?t tin? closest
le imprint i f hii Individuality. For
ir. in? nrst drawing hs i.-\ so to say. olt
his guard. Whatever he possesa? s of
Btyle will pas- Into hla line and leave it
sa exacl i record of his very ???? if as a
thumb print would be. The rstudent of
i:- mbrandt spprehendi many sides of
hla geniua In the painting! and prints,
vet he gets an even deeper initiation
,: to th" master's mind when he turns
t drawings. Bo it is wph main- <?f
: rai m ,i of the past, and. Indeed,
t ai tances In whl? h the draw?
Ings are all-Important. Leonardo, for
example, i? ft very f?w- painting! but
?ran; drawings,and these offer us ?
; ? cl? Wl to the s erst Of his artia
tic character. Perhaps the most striking
modern illustrations of ths bnpor*
I tance of dra*aingi la supplied In the hla*-?
t, r?? ? ?" Ingres, Although his pointings
? would havs proclaim??l him an
astounding draftsman. their curious
? ti r In resp< cl to color miKht easily
rsded us to his true greatness.
been magnificently affirmed by
ndi of drawings, it hai boon
? ..f nil ths treasures m the
of r> gai those at which ho is
-? tenacloui are a few drawlngi by
the master at whose feet hs sat In his
? uth and whoso genlui as ;i drafts?
man V. .-till revi r. s.
in the Unit i St t s the drawing has
.lily |ust be| n to come Into Its own.
There I ive been some slgni of the rlcht
d. vi I ?pn ? : t . f taste. The Metropolitan
Ifui im has been ur Ing aome attention
to the aubject, alftlng out the ml
mixed collection l"ni- m Its posai
and 1 itterly making a few addlti rna to
A : or two ag'> th're was an ? x
? : ? ' '??!.?.-' ".lib ?ii.-i lo-iiK
the fact that wi had a number of col
[ the < harm of t' a ?I |h?
tcenth century French drawing! and
there lurk h<--ro and there In
Ai ??.'..n homea these ?casual ?souvenirs
of th?? artistic past But ?the cult for
draftsmanship in the ?particular phase
to which we ?refer has yet to ?be estab?
? ! upon a. solid footing. T.ften
the drawing is passed by ?as a trifling.
? gether unimportant thing, of no
value commercially and of only the
: tlstlc ?nt? r- -t. i*? rhapa ii Is
.???i is? the drawing, sa a ?drawing, has
! ardly ev??r ?been put forward In our
exhibitions on terms of equality with
? ? ?painting. We ?refer, of cours? not
to the flnlehed drawing <?f the Illustrator
or ?to the portrait, but to ?the ?study made
su ??Y I??i: \ HAND.
?Wrom th? ?? La Farge.)
TTThTnTtist for Ms own purposes it is
_ t] .. ,, , on thai v.- attach peculiar
mportance to the drmwlni
'"' r..,K,, included in hlscoUectlon
i';'";,' .M,i.n? ?,i Art Galleries There
:, , ?I.? Oi hundred of them all I
hundred ol the* b lm sh? n
"me. and th? ' distributed
,:,,,;??;..-";" b> '.
S?TTiY TOR AN lI.T.T-sriL\Tin\ TO VI?CIL.
(From the drawing by Joim La Parge.)
a ?coll? ctlon of the highest Int? rest. From
the ?conventional point of view they are
subsidiary to other ?things. The ?galleries
are hi ntr with a lar?;'1 .body of Li
Farge's paintings, a number of bis trin?
'?..ws are ?shown, and much ?space l-i oc?
cupled by bis ?Orl?entalla?paintings,
prints, textiles and curios. Divers mis?
? ? Han? ous objects from his sttnlio round
?out a long list But of these, in The
'Tribune of yesti rday, . <? mething h is ?al?
?ready ?been said We wish to-day t?>
craphaatse the rare Interest of the draw?
JOHN LA FARGE.
It i^ the first t;i?,:?? that the WOril
Anverlcan artist h ?s b? ?en thus put ?beton
the public eo fully and on such s? rious
?grounds It is the Oral time that th?
?harm of the drawing baa been so au*
thoritatlvely b sorted And La Farge Is,
: bly, the only artist In our history
whose genius could Justify Itself In i re?
clsely this way, !??? had a passion for
drawing, and through it be wonderfully
revealed his unique personality. When
be was a ?student In Paris, naif a een?
tury ago, he disconcerted his ?comrades
In the atelier of ?Couture, and ?rath? r sur?
prised tiir-.t .trust himself, by refusing ?to
?.a - t Mi ?s to the s??t practl of the
. ;?; ? bad t?? draw In his own way,
and thnt was a way looking to th?
ti? n of living form, i" ?th expi Ion of
? ? :? nt Lin wag for him an 01 g
th '. ?an i II ?? leo, as i ?have air? ady
Indicated, a thing endued In some
?strange, clairvoyant fashion with I
dividuallty of the artist Hence, In
? ? Ing the old mast, ??> l;. ? t, ;. -?r. d.
? ? whole, to copy their dras Ings
? ? - than th.? ir paintings To many
students this might ?seem s doubtful pi ?
? g, i.ut L i Karge bad a valid r< at on
for It He want? d to gel I tl spirit <?f
g .civ? m old master, at his dominating
Id? ?. . ' -1 ' r that put p ? !. put
his t* .-ni h where tl I ? ? .tacts
v. t r" possible, i ?? te. ' ? n th? ? I of
s ?painting and the work ?!in* s
there ?hangs, n?eccasarily, s certain veil.
!_ s drawing th?? construction <?f the
?sjtist's scheme < in !?? obsen ?i In all Its
; ? ? dation. ?Especially, i ?". do? ? I
dras Ing reveal, v? ? ?? oil , th? I
lubtl? ties ? :' ? ?;?' i Ion, ti.?? fin? st i.? -
cause ni"st spontaneoua La ?Forge was
yg making drawings, ?early and late
In his long cure? r, and they ?take us ver?
near to the sources of his power.
They ?take us. in the first ; ?ce, to ?his
knowl-edge of torn,*, to his p it!? ni a? q il
sitlon of all the little mysteries of ?struct?
ure. This is s very different ?thing from
saying thai ?La Forge Invnrtal !" made a
?Agu? ? ?- '. the v? ?> i i -t v ord of p? ?rf? ? :
anatomical truth. That was not what
he was driving at, ?In every cas . il?
knew construction profoundly, and he
could s? t it Into his work wh? n be ?
but his : ;? ' lal aim was th? ? ?_pr< ISlon of
ide-is, the ??pression, ?aa r ?have sai?i
?before, of truth ??.' mov?ement of char?
acter. How swiftly ?he ?could achieve
this th? ?reader may Judge from ?certs
i. for et t the
1th wbli ? i - n his first
... - .
?"I'll, i ? ?. -i Gel U'
;. . i dui I -; In
b< d th? lai
lv< n- as ol th? ? ' With
of tl ... ! i - - ;
I solidity and movement In Ml figure and
an amaslng aenas of the upward rush of
rs ol v ipor (r.,m th.- little recepta?
de at the bottom <>f the picture. Look,
too, at the iketch "f "Boya Bathing" and
note how the lurch <.f the i'?at, most
vividly expressed, li unmistakably
cms? <i by the active weight "f ti-.e boy
pulling at its st?-rn. and observe the tras
impression of motion conveyed by th?r
faintly sketched swimmer In the fore?
ground. In hundreds of luch drawings
I .a Farge*i extraordin?r* fores as a
draftsman Is n waled. He is swift.
brief, and "ft?-n leemlngly careless,
merely Jotting down, as it wore, the
\ i.-ioji of the moment. Re could be a most
\ faithful realist. Hli atudlea of form.
pure and limpie, roll-length drawing! of
figure, or such a minutely can ful
drawing of a band as the em we re?
FIRST SKETCH FOR "THE FISHER?
MAN AM? THE GENIE."
(From the drawing by John u-i Farga.)
produce, show- him almost in the m.1
of the -scientist In lawt, when be made
i li famous illustration of "Bishop Hatto
i and the Rats," he approach? ?t hli I iak
with little ?iiiwin-'s bu?- the on? iti our
llluatration, over and over again famll?
larislng himself wtk the rafi form and
t, xt ire. And Incesaantly he stu.ii. ?l its
charactertitic motions, for, ai I hav?
?-aid. Ls FargS simply could not tr.-at a
: . i subject In terms ?>f immobility.
CALENDAR OF EXHIBITIONS.
Current Displays of Paintings, Objects
of Ait and Prints.
?? ?? polltan Mu?
ai im .\nolent Arms ar.il
i arts Building. .The Spring Academy.
Rational S ill I
i\- .Works by tiie lata J.
(? A w.i
. ,1! Arts Club..Painting? and draw
by the late
\\ .,!t. i Bhlrlaw
E _ .: h Club.Pslnttnss bj the ! its
?; ;i If? Cord.
Cent i .Worka bj tb?
Arts Architects.The Independents.
Am? n.m Ait Oal*
.< '"II' lion of the late
Berlin '?-'?- ry.Painting ? by An
Brandus Gallery? Painting* b) Leonard
? nailery.Manhelm i'n||?ctl?>n
Cottier < ?allery..mm < 'enturj Eni
Durand*Rue1 GalleryPalntlns? ml Past?
Ivi.-i (:? im? )? Qallery..Primitive Wood Cut
Ebi i, h Oall? iv.< ?Id Maatera
i . -, ? ? ( lallery.? lid Mit len
I na Gall? ry..Palntlii| b) :. i n
I ?. ilierj .. Palm nga bj \v Rll -
. Hai n* r Oalli ry.....l8l Ontui .
and Hary? Ili? ? -?
h . ; illery. Palntlni ????? i m
:-...!/. ? ?all- iv.Paintl .- \ ? ?
Hoeb? r mil I :?
b\ K it ha rim Kim
? ?i i ? ;? man and
i ? tch Print?
; . -, . Rtchini ol p
; .. : I all tins
? ; ? Pa In l Inga by H Pos*
I i. ',
? ? htman, ? i Ry.
md G a
? i ., .,, iii I'HlntiiiKi i. i? i
?? .111,1 poi
trail i v-, h
i oal Drawlna
i ? it h
, ? :-,?-..-:, 0
. iN " ? t'< -"i i
Mis ?fig?UTOS may he in attitudes of re
p"S", ns nitnees ?the ?one we dve fror
?the "Christ ?sad Nlcodemus,M i?ut th?1
iitggssl arrested movement, not inertti
?\iso th? y ?suggest and this Is th
?Sfownlng virtue ?of ?La Fsrge*s ?work ?ta i
draftsman - -the ?personality of the ar
Mat himself. They have the Indeflnabl
beauty of ?style, Among our renroduc
tion?? is the classics] figure he drew- ii
Illustration of a passage in Virgil, :
?stately fisrur?1 in swelling draperie* Th?
form is ?noble, it ?moves grandly towsn
us. ?and in th?1 ?sombre ?background t'
which ?i ?reproduction ?can ?scarcely d<
Justice, th??re ?a a ?subtle suggestion "
?poetic atmosphere. ?Bui it is t?< the im
?palpable ?sentiment in tills drawing, to it:
personal quality, tbst we would ?partlcu?
lnriv draw ?attention. We ?make n.a?
tenoe of ?Miiinc: it a masterpiece. I.a
Fare? himself ?..,,??.' ?t have egsgger?
sted Its W-. ;ur't. ?But m ?relj la its suto?
graphic character it has a compelllni
inn, ail of th?1 finei ? ?sa, all < t the us
tlnctlon, all of i - t i ner whl? l
".? asaociate with hi? ?genius. In that
we maintain, II Is an Invaluable r? r" ?i
comparable ;?> the firiest ??t the ?painting?
and water colors and I Indowa It
clowii'-_' glass which fill b ?large ?port <i!
the pn si nt exhibit Ion. In tho -?? r -
?markable productions of his, rellgioui
?subjects examples <>f decorative d? sicm
Impreasions ??r troi ? i ?.- Japan and i?. 'h.?
South Bess, there sre qualities of color ?
snd "f thought?t?> be found nowhere
els? Lut s", t"". hi th?? drawings, ?there
;'!'? qualities which they alone ?can In?
t' rprel to us, ?giving ?as a ? uriously inti?
mit? s? ns.? of his g?entua La ?Fhrge was
a notable pioneer, i i those familiar with
the devi lopment of mural d? ?-oration a_.d
?stained k1 iss In Americs well ?know, it
would ?be f?- Icltously In keeping with all
that his Influence ?has meant to his time
if thi? sale should mai!, a !?? v forward
movement among our collectors, leading
th m to estimate th? drawing of a mas
ti - at its true value ft c.
The Salonette of M. Rodin and
Parlo, aforen IL
The ?Society of ?Pointers and ?Sculptors,
<?f which ?If. ?Rodin is ?president, .ip?n?-?i
its annual exposition yesterday in the
?STUD! for D9TAIL IX "BI3HOP RATIO AND TITE RATS."
?Fren? ths drawing by John I*a F.irjrc.?
Georges Petit Gallery. The artis*- of
this .small group have all mad-) their
reputation.-?, and their salon, or, rather,
?alouette, with only ill number?! in
the catalogue, is unusually Interesting.
If. Rodin exhibit! a fragment In bronze,
a man's hi ad, full of < haracti r and con?
centrated nervous force. There an aoms
exquisite bronze itatuettei by If. Paul
Troubetskol, amona: them portraits of
Princesse Bciplon Borghess, Mme. x>.
risbklne ?and If. Unzu?. The mu?e
sculptor's eQueatrlan itatuetts of Tol?
stoy riding on hli ihaggy little Siberian
pony is replets with movement and
Among the pi? tun i th< re li a d<
ful full-!?until portrait 'i' i young lady
by If. Ja< ques Blanche, In i
and blacks, brushed In a masterful man?
n< r ar d ??'??? ing an ? xpn salon of dell
? H.- y.-t melan? holy passion thai
justify Its title Of "Salom?." The bright
Interiors with chints curtalm and ui
? ry and the 11? '?' I room**,
?lining rootni and English Interiora, ?
i Prora th? ?i J? ? .
ut l'iii ?Hall. Es ? x. are pleasing ? oi k .
but ! : ?
M. NlJInski, the R Ian danc? r, n h.? ? -
i? pi. ? nt? 'i In blai n_ I arlei
a ith ? iri< ntal ?bui kground
t. mous ' ?I H' ?? of '??" i anda." The only
Ami i h an ai tlal ol the roup Is -i Wal
?, i ? ?a . a h" ??? ' is rmlng int? riora ??:
i ii.it. aux vlbrnti nhere. The
pi. mi- of the n ? ept Ion ?room in tbe
?Barbara ?Pa ? ?? < at V'enl ?. * .Mi It
Ll?, |y ,h?? orated celling, Its w.iii ?paint?
?t* niih? o arm ? h ilrs in t? n
green and Venetian
one of I : ? '
that Mi Gaj i- : : : ? ?i Tl pit ture
? now h properl the Boat on a.
.\i t* 11 tn
There I ?' !'":'
i,.,?i ,,| i.i,m s in full length i ) m \ ?
i,,,,?,, ,i, i.i < landara ? a? h In long a II
i ... ton? ' M ':
'.. n . ri ? il ' ' '' ' ' '
?pired i'> il< l" ?'' i " "
. ? i.-. ig i h . ? In a clearing .
AM AltGEL ?STUDY POR DB0?EATION IN TRIMTI CIlT.'RCn. BOSTOK.
(From ti.?* drawing i>>- John i>a Fargs ?
_^____^_^__ -? ?
IS for??st. bathed in the subdued llsht of
Ian autumnal evening, it is entitled
I"Bucolique," and evokes the sentiment
| of on-? of virgU'a eclogues. If. Qaaton
La Touche, with his bright, animated,
I falry?realm all?gories, is becoming th?>
Perraolt or tits La Fontaine of Parisian
I painters, Hli anecdotal "Peau ?l'Ane,"
with tho traditional young woman with
lur Hock of geese, la a delightful Mt of
W? ik, more pleasing perhaps than the
picture of i young woman sleeping In a
chamber upholati red with red chlnta
'toiles de JOUy," and <!? I Orat? d St i?h I'? d
lacquer furniture, entitled "Le Sommeil
Agit?e.** Ail ti-e pictures in this charm?
ing little exhibition ore clever and in
terestlng. Works by ?Raffaellt, Le Sida?
her, ?Aman-Jean, Prinet, Dauchex, Henri
?Martin, Morrice, Ln? len -Simon, ?Charles
C< ttet and Zacharian, ar.? stroniily char
?acteristlc of ?each painter's ?talents ami
ar?.? ?greatly ?admit, d. c. i. B.
A Fantasy on the Current Craze
for Selling Heirlooms.
Prom The London ?Dally ?Mirror.
n? had bo? n brooding ov? r many
reports of ih" wonderful
? li. < -i of?
i? r? ?I, or b i uallj given, for f imous
works of art, especia j f? ?r | ilntlng i ? I
the mom? nt. He had followed the <-"ii
trov? i??-???? about the supp? , qu< ?
"Venus," about Holb? In's "I iu? I ? I of
Mllai ," ; ?bout the ? 'h< sterfl? Id suit ??:'
Th? n, tl ' mored : lo.oi (1 f r
the Kr.t.le (la Insbo rough, the E95,. for
?the ?Lanados ne Rembrandt, filtt? ?1
through his mind
He got up from hl ?
ne cornei "?' his
?? ?. nlng room, v
than ever agi I uiturall) de|
[ ??olorli : ? rn III bj a
[far door, thr? ugh ? hi? h <?n< ?
?i ? ?ni,- \. ont? Pi sp.nii-ii i.-?
\ bright id? i struck blm.
\ feu montha lat? r, you n
...... pap? i*s a h
"Rumor il Diicovei
; ..i,,i some pai - ? | ' that
v ? ? ,i rt (?xpert had offered the sum
. ;., run . dtH'lai d to b<
? a Ithoul doubt bj I 8|
nos In thi i ? loi I ? ? -'
.liiiu- pn-ascd family'not i
? ; ; ? ? t. . ? ? t was : i
' ' . ? ? ?
? m ol ..it ted t"
put the picture upon view, that tl
lie no II nd ludgi \it!.
i --in i;i eight art esperta \\ t"t'- to I
i ting oui the h
uld fore\ rovei
: : h h? allowed hera II to
? he oppoi tumi V'c?
;- - u a million.
I At ? i A
. nu.Id i. \. id glvi .i
hundred thousand if anybody ekse did.
Nobody * Ise did. Bom?bodO signing him?
self "Pointer" <'t't.?r.??i ?5, ?Somebo?dy
calling herself "a lover <<i ?Uar Vrlas
ques" er ?->?? five shillings. There ??.as n,
Then th f? ro Ity of the art expert-?,
?became more alarming than ?over. The
picture, t?i ?. wss ??M -ri? h - Th-ouaaads
paid a ?shilling t?? ?see it. Los Psinssdoresl
The picture, at lost, was pu-*chssod*
it was placed In the National ?Oallery.
As it. < ould now I??? s. en fr? ?, i
went ?to see It The ?agitation ?began ?to
ebb. Then, suddenly, ?one ?morning ?
person certainly n?> ?gentleman?OTOto
t?< ill?' i ;. i ? . that the V? Issqtg ?
n?> \'? lasqu? i at all. Velaaques
! * 11?.->t hand? Velaaques perpetrate
? the first "am >ker" ? it ?srss
absurd He, for his r?<rt, h.'d ?urged
?people not > buy It The ?people nrho
? . ibsct Ibed bt gan to want their
Th? ?? s'anted it back ?still mora when
an ?eminent art expert, who ?had ?exam?
ined every known Velaaques with s new
apparat, i of h : own Inven?
tlon, ?;? ?i? i ti' it ;*??? picture a is ?by
P< dro de Pias? n< lo* a i ? rson nobody but
? vi?? : t ?had ever h? ard of. Anoth? r
?critic knew, ?p-oaitlvely ?knew, that ?the
picture waa by an unknown frleml of
Vclasques whom he (tbe critic) ?celled
A ligo de Velasquez and whose est?t?
ence had till then remained ?dark, There
was a ?great shout ol ?rage among sub"
?scribers. Then th? ?agitation ?died down
Los Fumadores Is still ?to ?be ?seen* if
you look tor it. ]< it by Velaaques, or
by his amigo, <>r by i>"n Pedro? who
can tell? But, at any ?rate, it ? ist ?half
a million. That ?from time ?to Urn?. takes
S"ltie COUntl ' ? :?? UOOO it
where ?* blackena and bleachea in the
i i e of hoi ..... g| . ,]j Behool.
STUDY FOR FIGURE OP r?RT??T Bf
DECORATION IN" TRINITX
? Ht'RCH, BOSTON.
(From ?the drs - ?'? n La r.irpe.)
The family - ulturally ?le; rssoed
are ti terlng In ?Egypt Th??y
melon In ?May??
BEAUTIES OF BUREAUCRACY.
Prom 'l". ?? i.? ?:?: . i Hobo,
a ?good st ? Is -? ng the ?rounds of
the in 'ih n? a -;? ?? lllusl <? - - ?th?
? ;. i n m- . V are t Id that m th.?
: ? . ? i -.:. il
i to hand la the
Btump ? ? ' ' I -? ??!???? t" ?
bhort ' .In tie? pan
? ? ? ? ?t his ?new
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