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First Steps in the Agitation For an Artistic Indemnity By Royal Cortissoz In the dispatches that come from Paris Just now it is apparent that the French are preoccupied in the peaoe conference with matters military and economic. They are thinking, above all things, of their protection in the future' against Germany's potentialities for war and for industrial aggression. There would seem to b? little opportu? nity at present for merely aesthetic considerations. Nevertheless it is gratifying to be able to report indica? tions in the French press of just such an agitation for the German payment of artistic indemnities as The Tribune has been steadily urging. A long article in "I/Illustxation," by M. Auguste Margu?IHer, shews that something has already been done to advance the sub? ject There could bo no more appro? pri?t? moment foT recurrence to it. As far back as July, 1915, the bom? bardment of Arras, which with incen? diary shells destroyed what was left of the collections in the Palais de Saint-Vaast, drew from the Historical Society of the Pas-de-Calais a protest exactly in the sense of the scheme of reparation we have been advocating. The members of that body did not de? mand vengeance or reprisals. What they asked in the shape of simple jus? tice was that works of art in Austria and Germany which had had their origin in Franco or Belgium should after the war be assigned to the devastated re gions. "Tout le monde," as Marguillier remarks, is to-day in sympathy with that idea. The Acad?mie des Beaux Arts gave its adhesion to it at a meeting last December, and several so? cieties have addressed to the govern? ment pleas in the same vein. In "Le Figaro," recently, M. Deville, president of the Fine Arts Commission of the City of Paris, has formulated similar claims. In the Chamber of Deputies three members, MM. Amiard, Goustand Dariac, have brought forward a resolu? tion "tending to the payment in works of art of indemnities for the artistic ?osses which France has suffered at the hands of Germany." In justification oi this principle of compensation?if anj further justification is needed?M.Mar guiltier cites certain German observa? tions which are of the most pointed in teres'. The German Idea It was a Bavarian Minister who tob Baron Kerryn de Lettenhove how the; felt at Munich about their works o art. some of which the Belgian arch aeologist was soliciting for an exhi bition at Brussels in 1910. If any o them were lost it would not be possi ble for the Belgians to make restitu tion in money. The balance could onl be made right by the choice of work of the same merit from Brussels! Hoi could the Germans now object if the are Bubmitted to the very rule whic they themselves were ready to formu late? Baron War.genheim, at Con stantinople, bewailed to Ambassade Morgenthau the moderating influer.c of the rulers of Great Britain, Russi and Austria, which saved Paris froi the extremes of Prussian rapacity i 1871. This time, he exultingly d? clared, his master would make W? without p'.ty. "We shall transport t Berlin all the treasures of art in Par which belong to the state." Tl French are now remembering, and en phasizing, pronouncements of this kin Naturally, since Germany felt that wi about it, they cannot see why the should be any objection to the tran portation of a certain number of wor! of art from Berlin to Paris. The sit ?tion is different to-day from th which existed in 1871. France had do: no harm to Germany. There was re son for moderating me demands of t' latter. But think of the harm do by Germany to France in this war! The war had been raging for only fpw weeks?it was, in fact, in Octob? '014?when Herr Emil Schaefer a nounced in a Berlin magazine, "Kur und Kunstler," what had happened a what might be expected to happen. T might of Germany had made itself f ft Li?-ge and Brussels, N'amur, Malin tnd Antwerp. In a few week3, perha in a few days, the news that the Kir dom of Belgium had ceased to ex would doubtless airive. In anticipati of that event the amiable Herr Schael counted not solely upon cash retur "Kach town of this country," he i ed, "was formerly a home of f h church was a sanctuary of pai ng. 'i I ?? ?!? cendanta of Van Eyck t en? have preserved many paintii ?'. ai de from their ideal va . n ater?a) value which may ed in millions, and upon t part of the national patrimony d of the conqueror will fall." enumerated the principal maBterpic ". b* annexed from Antwerp, Brus? and Bruges, not forgetting, at Ghi that great altar piece of St. Bavo by the Van Eycke, to which w? h more than once had occasion to re It was in l&H, we repeat, that 1 piratic?] programme w?s esndi .-r.'r<-d. In ?'.i'.'.i it come? home to ro A nice, far MCing lot, the Germana, not quite far seeing enough, M. It. guillier roll? their unguarded con B?08I like no many sweet mortels der hin tongue. Who ?hall ?ay n*?y? I/e contrant? the German c paign of loot with the ?ch<:ine of ? ?ration which hi* countrymen and Belgian* bow b#ve In mind ??d t?i 'h* world to Judge which ipe*k| rapine and which of ?ueticc. There be ao doubt of the verdit, nor, we j add, can there be any criticism of the j scheme which M. Marguillier sketches.) France in Germany It concentrates upon French works, aiming in the first place at those paint? ings and sculptures in the imperial ? palaces of Prussia which belonged spe? cifically to the former Kaiser. The enumeration is edifying. The eigh? teenth century French school is por? tentously represented. There are no fewer than thirteen paintings by Wat? teau, thirty-seven by Pater, twenty-six by Lancret, four by Nattier, four by Chardin, seven by De Troy, and by Pcsne the examples are simply "innu? merable." Other French masters to be reckoned with are Poussin, Le Brun, Coypel, Largilli?re, Raoux, the Van Loos, Mignard, Rigaud, Boucher, La Tour and David. There are sculptures by Bouchardon, Coustou, Pigalle, Le moyne, Vasse, Houdon and others. It was the ambition of Frederick II to create in the depths of Germany a little corner of France, filled with its architecture, its gardens, its furniture, paintings and books. His emissaries in j France, Count Rothenburg and tho architect Knobelsdorf, served him well, and he had French architects, artists and sculptors at hand to carry out his wishes. M. Marguillier fixes a relent? less eye upon what they left behind them. It is time, he thinks, for that corner of France to be moved back, and he particularizes. He wants to hang beside the great "Embarkment for Cythera" in the Louvre not only the famous version of that masterpiece in the Kaiser's col? lection, but tho renowned sign which Watteau painted for his friend, the picture seller Gersaint, one of tho his? toric gems of the period. He goes after the French treasures of the house of Hohenzollern with chapter and verse, carefully naming names. For example, there is the "Bonaparte" of David. He explains, bluntly, that it is the one which was taken from the ch?teau of St. Cloud by Bl?cher in 181?. He Is disconcertingly ready with these re? minders, as he is with the essentially French associations which seem doubly to invoke the return of divers works now held in Germany. Obvious? ly Le Brun's "Portrait of the Banker Jahach and His Family" belongs among the Jabach pictures in the Louvre which Colbert bought for his king. And where but in Paris should hang Mi gnard's portrait of Marie Mancini, Ma zarin's niece ? The mention of these two canvases recalls the fact that the in? quisition is in no wise to be stopped within the limits of the Kaiser's pal? aces. As we have pointed out in sur? veying Germany's resources for the payment of an indemnity in works of art, they embrace famous museums al! over the country. For Old Sake'? Sake The Le Brun and Mignard just cite? are in the Berlin Museum, which ha also some notable examples of Wat teau, Lancret, Largilli?ro, Poussin, Gas pard, Doughet and Claude. At Munie! the great gallery would yield importan works by Clouet, Philippe de Cham pagne, Jouvenet, Vivien, Poussin Claude and Boucher. There are Frencl works at Dresden, Cassel, BrunswicV Schwerin and Karlsruhe. And M. Mai guillier is careful not to omit the re sponsibility, and means of repayment, to bo ascribed to Vienna. He talks.1 suggestively, too, of bringing back from the enemy countries tho things that belong'to France or Belgium for old; sake's "sake. In the course of th?e war. Dr. Bode, it appears, took to Frank- ; fort from Lille an "Assumption of the . Virgin," by Piazzetta, which had orig? inally adorned a church in tho German city. If that is a good idea, when ' worked to German advantage, Dr. Bodo i ought to bo tho first to seo how justly, in the circumstances, it might be made to eerve the French. Let Saint-Omer havo back from Berlin tho wings now there which Simon Marmion, of Valen? ciennes, painted for tho retablo in the monastery of St. Bertin in tho fifteenth century. Let Melun reclaim from Ber? lin the "Etienne Chevalier" of Fou quet. When tho Van Eyck panels are 'returned to Ghent let Berlin and Mu? nich send to Louvain tho paintings by Thierry Bouts which belong there; let Frankfort give back to Belgium her paintings by the Ma?tre do Flemalle, and Dantzic her Memling, while Vienna restores to Antwerp the three great compositions which Rubens painted for tho Church of tho Jesuits in that city. There are, indeed, scores and hundreds of cases in which certain pictures in Germany, restored to France and Bel? gium, would only be coming home after what wo have called before nothing more nor less than exile. Reparation, as we insist upon repeating, in season and out of season, cannot be expressed in this case simply in terms of cash. There must be such reparation as is possible in the world of ideas. To bring back to France and Belgium works of art created in those countries and long held, for one reason or an? other, in an alien atmosphere in Ger? many, would go fin4 to secure such rep? aration. M. Marguillier knows only too well the nature o? the people with which the conference has to deal. In a foot? note he revives the story of how Ber? lin contrived to buy the celebrated "Adoration of the Shepherds," by Hugo von dor Goer4, from a Spanish convent. When the Spanish govern? ment sought, to interfere with this pro? ceeding on the ground that the picture formed part of the national patrimony Germany threatened to withdraw her ambassador from Madrid. The pur? chase accordingly went through. And yet-, with this spirit to remember, M. Marguillier nevertheless stays his hand, as it were. In our own survey of Germany's artistic treasure we noted masterpieces of all the school?. This magnanimous Frenchman practi? cally ignores them. He would like to see in the Louvre the "Four Apostles" of Durer, from Munich, but his de? mands adhere to French art, and in his restraint he makes, after all, a v.-eighty point. His plan of reparation but gains in logic and practicality, as it rests upon the eternal fitness of things French art for the French?-that i: surely a persuasive argument to put before the peace conference. And let it not be forgotten that no matter how fully tho pian might be accepted ant carried out the debt of Germany wouli still be paid only in part. It is nol on-ly for theft, but for immeasurabli destruction that she has to atone. Random Impressions In Current Exhibitions Ihe National Association of Women Painters and Sculptors opens to-day at tho Fine Arts Building its twenty eighth annual exhibition. The new one-man shows this week include an exhibition of water colors by William Jean Beauley at the Rein? hardt gallery. Pictures by Kenneth Hayes Miller may be seen at the Mont ross gallery beginning on Tuesday. Impressions of things festal come back with memories of the exhibitions the American Water Color Society used to have in the old building of the Academy of Design years ago. There were banners and decorations. The collection always included, too, a cer? tain number of ambitious perform? ances, full dress pictures, if we may so describe them. Now things have changed. The fifty-second annual ex? hibition of this society, which has been opened at the National Arts Club, has no gala air about it and it contains no "star" pieces. Has the blithest of all mediums gone out of fashion? Hardly. ! in a way it was never more popular. I Perhaps the difference is due to the j fact that there aro not so many hands ? qualified to give it to-day really brill? iant exploitation. A* a counterweight j there in a positive increase in the number of water colorista who, if not brilliant, are, at all events, gufflciently clever to make their works sprightly and amusing. The present show con? tain? a goodly proportion of interest? ing drawings. The mont conspicuous arc by Mr. Chllde Hassam, to whom the Hudnut prize has been awarded. His Hkctchc? along the Hudson and at Cos Cob have a certain admirable solidity, but we have known him to bo more exhilarat? ing than he is in this group. Mr. Chaunecy Ryder's crisp, sparkling landscape? well ansert themselves. Ho han never used more agreeable color with u more breezy touch. Mr. Gilford Bsal siso gives u refreshingly good MCOUnt of h im ?gif. His "Fifth Ave? nue, Red Cross Week," is delightful, j much better than anything we have hitherto seen pretending to suggest i the street beflagged. Mr. Howard ! Giles has some capital sketches done on the Maine coast, drawn with great spirit and precision and very rich in tone. The landscape work is always good at the water color show, and there aro plenty of workmanlike notes ! here by Ernest Albert, Frank ITazell, Charles P. Gruppe, John F. Carlson, J. i L. Hoftrup and F. Lensch. Mr. IT. Hintermeister provides one of the few fresh sensations of the occasion in his drawings of wild birds, which are most beguilingly picturesque, and there j is a hint of a kindred feeling for nat? ure in the sketches of animals by Mr. i Lief Ncandross. The figuro work is ? negligible, if one takes it very seri? ously, but lightly considered there are j some pleasing bits, like Mr. A. Cole's ! "Pomona," in pastel, or the graceful ; "Autumn Leaves" by Mr. Louis Berne ; ker or ^e fairy subjects by Miss Fran I ces B. Comstock and Mr. Howard j Heath. Lightness in motive and in ? handling is the most commendable I thing in the show, which invites nc very detailed comment but gives a cer j tain pleasure. A veritable well spring of humai vitality is the source of what is mos interesting in the exhibition of sculp | tures which Mr. Edmond T. Quinn i making at the Knoedler gallery. H shows a photograph of the Booth Me morial in Gramercy Park, to which fa vorable reference was made in The Trih uric not long ago, and the print serve to remind us of the dignity, the eleva tion, which he can achieve ?ri mom; mental art. But the smaller bronze and marbles of which this collection c some twenty-odd pieces is made a emphasize the intimate quality in hi work, the feeling for character which i his leading trait. Delightfully signf cant of this is the statuette called "0 the Summit." The windblown iigui her? is more than the sketch of an ope air type which it is nominally conter to be. It is really the study of an ii dividtmlity, a portrait full of life ar meaning, of movement caught in moment of thoughtful imprcssionisi All of Mr. Wuinn'a more formal po Chardin's "La Ratisseuse" (One of the masterpieces that France wants from Germany) traits are like this. Their truth is not left to be recognized only by tho friends of the sitters. The observer who had never laid eyes upon Francis Wilson, or Allan Pollock, or Paul Haviland, or Clayton Hamilton would know nt once that Mr. Quinn had placed before him truly eloquent char? acterizations of those individuals, characterizations subtly felt and made fairly to tingle with reality. Mr. Quinn has a manual skill to match what we can only describo as his spiritual real? ism. His busts are searchingly mod? elled. If he is not an artist of clearly marked idiosyncrasy, if he is richer in honest workmanship than in originality of style, the absence of the one merit is at any rate well atoned for by the presence of the other. He presents one or two essays in pure beauty, one or two nudes in which, ??gain, we miss the note of style but discern, on the other hand, a high technical ability. And in one of these nudes, the little "Torso," his technical excellence takes on something like distinction. The National Society of Craftsmen is starting a "School of Craftsmen." The technical and practical side of each craft will be taught and the aims of the school will also be to bring out individuality and to inculcate the value of beauty in craftsmanship. The exhibition of pictures which Mr. William M. Paxton, of Boston, has ar? ranged at the Folsom gallery might be described as one more tribute to the cult of Ver Meer, as was most con? spicuously popularized when Mr. Tar bell put forth, his "Girl Crocheting" some years ago. It is the cult for hu? man life treated as still life, for pretty women, posed in a state of immobility in simple interiors. Mr. Paxton brings a faintly dramatic atmosphere into some of his motives. "The Other Door" and "The Telegram" are both illustrations of something more than graceful idleness. But in these, as in all the other canvases, the important thing for the artist is technical virtu? osity, a certain "precious" quality in color and in surface. Mr. Paxton has sound composition and he is smoothly efficient, if in no wise distinguished in draughtsmanship and modelling. Where he fnils to reach his goal is in beauty of color and particularly in that fine? ness of surface, combining suave pol? ish with transpan-ncy and depth, which we associate with Vor Meer. His tones are commonplace, and in the manipulation of them he is not so much suave ns sleek. Quality, the ono trait which pictures like those should have, is the one trait we miss. Another challenge from the modern? ist camp is heard from at the Bourgeois gallery, this time advanced in draw? ings mid paintings by Mr. Jennings To fel. He explains himself in a preface to the catalogue, always a perilous experiment. An artist's works should say all that he has to say to tho pub? lic. Mr. Tofcl's affirmations in color and in black and white are, unfor? tunately, obscure. He covers a canvas with curious swirls of color and calls it "Out of Silence," or "Love in a Gar? den," and we wonder why. His symboli? cal subjects, in fact, striko us simply an so many inchoate dithyrambs in color. He is n little more persuasive in his painted portraits and in a few can? vases that seem like vague echoes of the late A. P. Ryder. In these there arc pleasant hints of romantic senti? ment and there is some charm of color. But Mr. Tofcl's art is as yot essen? tially tentative. Ho seems to be feel? ing his way rather than to have ar? rived anywhere, and this view of the matter, inspired by the paintings, is doubly confirmed by the drawings. In color ho recalls Ryder. In black and white he points, dimly, to the possible influence of Blnke. In neither does ho make the conclusivo appeal of a really interesting artist, interesting in idea and in craft. At tho Loto? Club there is an ex? hibition, lasting through to-day, to? morrow and Tuesday, of paintings by ?rtist members of the club. At the Ardsley Studios, in Brooklyn, ! there Is a show divided between Jap? anese prints and works by contempo? rary Americans. Julia Kelly, Samuel ' Rothbart, Thomas Bodnar and Bernard Gussow form the latter day contingent. At the Ehrich Print Gallery an in ! teresting exhibition is announced to | open next Tuesday, one devoted to the lithographs and etchings of Odilon : Redon. It is presented as const it ui : ing a "comprehensive review." To lovers of the Far West, with its j picturesque Indians, cowboys-; horses I and great sweeping prairie lands, the exhibition of Western genre paintings ? now at the Babcock Galleries will prove a source of delight. A painting filled with violent action is "A Side. "Winder," by William R. Leigh, . nd another. ''The Enemies' Horses," by W. Herbert Dunton, shows a wild stampede. Charles Russell's "Medicine Man" is very effective with .its troop of gorgeously bedecked Indian horse? men riding our, as it seems, from a ' sunset sky. A vivid piece of work more "painty" than pictorial is : ''Franceses," by Robert Henri, show? ing a young Indian woman in a gor : geous shawl. The poetry of the West has appealed to Maurice Braun and ! he shows two charming landscapes. : "Nocturne" and "Southern California." ! 0. E. Berningh?us also shows two well I handled canvases and Irving Coure j has treated his "The Blanket Weaver." in a flat decorative fashion which is i very attractive. H, Harris Browne is represented by a strong portrait of "Bobtailed Horse," a Chevenne Indian. ? _ Books from tire library of the late Frederick R. Halsey, selection and duplicates from Mr. H. S. Van Duser, and from other collectors, including rare books and mediieval manuscripts so!?! by order of A. Mitchell Palmer, : Alien Property Custodian, are now on exhibition at the Anderson Galleries prior to their sale by auction, begin? ning to-morrow at the Anderson Gal? leries. Among the collected sets of first editions are complete collections of Mark Twain, Charles Dickens, Brel Harte, George Meredith and Bernard Shaw. Association books are repre? sented by such desirable items as a presentation* copy of the "Vicar of Wakcfleld." and a first edition of "Thucydides," with autograph and manuscript notes by Milton. Rare Americana are numerous and include a considerable collection of the scare; Mathers, Eliot and Penhallow, also rare : rolonial and Revolutionary tracts. pamphlets and broadsides. A portrait of Charles Dickens by W. P. Frith will a,ppcal strongly to Dickens lovers and I the complete collection of engraved j autograph portraits of the Presidents ! of tho United States, from Washington ' to Wilson, will also be included in the sale. In the Art Salon of the Hotel Majes- j tic, under the direction of Dr. Hovey Allen, Miss Content Johnson is now ex- j hibiting a group of twenty-eight paint ings, including portraits, interiors and ? landscapes. In portraiture Miss John son is less happy than in her charming impressions of quaint interiors and ' Old World gardens. In "The Spinner" j and "Canadian Interior" she achieves a subdued luminous quality of great ; charm. A canvas with much poetic feeling is "Bristol Canal," in which the artist contrasts cleverly a red barn by the side of the canal with a decorative group of dark green trees. "Brick Church, Old Dcerfield," is also a happy inspiration, with its dappled effect of sunshine and shadow. Miss Johnson was a pupil of William Chase, and his influence is felt in several of her canvases. Portraits are of tho artist's mother, Mrs. Lyman. Mrs. Loc-k wood, Mrs. Buel and Mrs. Nase. An interesting exhibition held under the auspices of the Architectural League of New York is a group of water colors by Ida A. Johnson of Cali? fornia wildflowers and a group of California landscapes showing the wild flowers in relation to the land? scape, by J. M. Culbertson. Miss Cul bertson gets the brilliant sunshine of California in her landscapes, and in "Carmel Shore" she shows a riot of vivid blue buckwheat flowers, repeated again in the distant blue of mountains. | A California poppy field is also very effective. The flower studies of Mis?; Johnson could have been treated in a more decorative manner. As it is. they ' are workmanlike and show effectively I the beauty of those wonderful wild | flowers of the West. At the Whitney Studio Club. M7 West Fourth Street, a group of four artists is exhibiting wood engravings, monotypes, charcoal drawings and color plates. G. Watt, as a-wood en- j graver, loses nothing of the subtleties j of the famous paintings which he re- I produces. He is particularly success- ; ful in "The Apple Gatherers," after j Karl Anderson, and "The Trousseau," i after Charles Hawthorne. The mono types by Salvatore Anthony Guarino j show a charming delicacy of color, j Aubrey Beardsley has influenced the work of Miriam Gerstle. She shows weird imagination and effective color- | ing in "Sea Monster and Nymph" and i "Elephant Dance." Charles P. Rising | uses his medium in a sympathetic man- j tier. His charcoal drawings have much j poetic value in their softened lighting ; effects. A portrait group in brown I crayon by Joseph Suib is included in Calendar of Exhibitions American Art Galleries, Madison Square, South?From February 19, the contents of ;i Washington residence; from February 22, a col? lection of American paintings formed by N. E. Montross, and tapes? tries, furnishings and embellishments from various estates. Anderson Galleries, Park Avenue and Fifty-ninth Street?From February 18, tne library of J. W. R. Crawford;-from February 21, final part of the Herschel V. Jones library. Arden Studios, 599 Fifth Avenue?Paintings by John G. Johan sen, to February 2G. Ardsley Studios, 110 Columbia Heights, Brooklyn?Japanese prints and paintings, to March 1. Art Salon, Majestic Hotel?Paintings by Content Johnson, to March (5. Architectural League, 215 West Fifty-seventh Street?Paint? ings by Ida A. Johnson and J. M. Culbertson, to February 19. Arlington Galleries, 247 Madison Avenue?Paintings by Amer? ican artists, to February 29. Art Students' League, 215 West Fifty-seventh Street?Paintings by Haley Lever, to February 22. Babcock Galleries, 19 East Forty-ninth Street?Western Genre painters, to March 1. Bourgeois Galleries, 668 Fifth Avenue?Paintings and drawings by Jennings Tofel, to March 1. Civic Club, 14 West Twelfth Street?Drawings, etchings, litho? graphs and watercolors by New York artists, to February 24. Daniel Galleries, 2 West Forty-seventh Street?Recent work by Daniel Halpert, to February 22. Ehrich Galleries, 707 Fifth Avenue?From February 18 to March 12, lithographs and etchings by Odilon Redon, and from February 20 early American portraits to ?VIareh 6. Ferargil Gallery, 24 East Forty-ninth Street?Works by E. L. Redfield, through February. Folsom Galleries, 560 Fifth Avenue?Paintings by William Mac Gregor Paxton, to March 8. Gimbel and Wildens'tein, 647 Fifth Avenue? War pictures by artist, soldiers of France, to February 18. Kn?dlcr Galleries. .556 Fifth Avenue?Sculpture by E. P. Quinn and Daniel C. French, to February 22. Kraushaar Calleries, 20 Fifth Avenue?Paintings and decorative panels by Vincent Tack, to February 22. Milch Galleries, 108 West Fifty-seventh Street?From February 18 to March 1, paintings by Jerome Myers. Macboth Galleries, 450 Fifth Avenue?Thirty paintings by fifteen American artists, to March 1. Montross Galleries, 550 Fifth Avenue?Paintings by Kenneth H. Miller, from February 16 to March 8. National Arts Club, 19 East Nineteenth Street?American Water color Society, to February 28. Paint Box Galleries, Washington Square South?Psycho-chromes, by Engers Kennedy. Reinhardt Galleries, 565 Fifth Avenue?Water colors, by William Jean Beauley, to Mure h 1. The Cosmopolitan Club, 133 East Fortieth Street?Paintings by Maurice Fromkes, to March 18. ? Whitney Studio Club, 147 West Fourth Street?Wood engrav? ings, monotypes, charcoal drawings and color plates, by a group of artists, to Februury 27. EXGLJSH?FRENCH?ITALIAN ANTIQUES Tapestries Objets d'Art 554 MADISON AVE. AT FIFTYrFIFTH ST?EET Branch : 406 Madison Ave. INTERIOR DECORATION PROFESSIONAL TRAINING TEN WEEKS?TEN DOLLARS Practical, concise. Booklet on request. H. FRANCIS WINTER 35-37 W. 39th St., New York SCULPTURE by Edmond T. Quinn Knoedler Galleries. 556 Fifth Ave. until February 22nd ELMORE STUDIOS Antiques and Reproduction!, Marble, Terra Cott? and C?mant. GARDEN FURNITURE Brasses?. Pewte.r &. Wrought Iron?Japanese Print? Estimates Cheerfv'ly Given 3-5 W. 28th St. and 25 W. 51st St., N. Y. Tel. 2163 Madison Square. Tel. 453:.' C'?rc?c. the" exhibition, which closes Febru? ary 27. Mr. Leon Kngers Kejjnedy is exhib? iting a group of Psych^jfcttLjmes at the Paint Box Galleries,*1*' vVashington | Square South. Mr. Kennedy explains i that "Psychochrome" translated means "soul color," and "the eye of the soul directs the hand of the craftsman." An interesting display of batik.; may now be seen at the studio of Miss Laf fon, 14 East Fiftieth Street. Five years ago Miss Laffon commence?! the studj of this interesting and complicated sys? tem of dyeing, and to-day her work shows with what thoroughness and knowledge she has adapted beautiful design to silks, velvets and coarse linens. A large silk wall decoration shows Persian influence in deep b ?es and reds, a velvet ensnion has ? bold design in white, blue and dark brown, and a large cover in coarse linen ha.? a tapestry effect. Miss Laffon ? i her own designs, and shows good taste in not becoming too violently imagina? tive. I '?limillfllii'lIRi II? H It 3 IB EC . SK ?H NOW ON VIEW 2 a PLAZA ART i ROOMS, inc. i 5-7 East 59th St. K ? (Near 5th Av.) ? Edward P. O'Kellly, Auctioneer. I AN UNRESTRICTED SALE H jj? By order of I he Executrix of the _ H Estate of ?? I CHARLES G. WOOD ? g Consisting of _ ' Paintings, Prints, Etchings, etc. ? ? Also to close other Kslates B Items of Interest from I.enox, B Tuxedo and City Homes. == ? . ? I g Rare Textiles, Fine Italian and English B Furniture, Hangings, Ecclesiastical ? ??g Banners, Persian Rujs, Paintings, E? g Engravings, etc. ?? ?i m ^j Also the Leon Collection of js Unusual English Lustre ? w S and by order of ? H. B. Yu of Shanghai ? _, A Collection of m M Rare Chinese Porcelains, etc. - g Sales Days: Wednesday, Thurs- S ?? day, Friday & Saturday, Feb. 5 j| 19, 20, 21 & 22, at 2:30 P. M. H g Catalogue on Application. m "bobioiv?'. a ::.!??. ?:????:? b ;i : m ;~u\ ON VIEW TO-MORIIOW IN SILO'S Fifth Ave. Art Galleries 546 Fifth Av., Cor. 45th St., and i West 'lot.''. St, James P. Stlo St Son, Auctioneers, Announce an Important Peremptory Auction Sale of a Magnificent COLLECTION OF MODERN AND ANTIQUE PERSIAN AND CHINESE RUGS , In All the Desirable Colors, SI7.es and Weaves. Sold t?) close the business ?>f a Prominent Rug Merchant, who is compelled to return to Constantino? ple Immediately. TO BK SOLI) ON THE AFTERNOONS OF Tuesday, Wednesday, Thurs? day, Friday and Saturday, * Feb. 18, 19,20,21 and 22. Commencing nt 8 o'clock Each I)av Mr. 11. Rasab, tho well known Connoisseur and Rug Expert, will assist our pa irons at Ihm eue. Opposite Sherry's Clarket 5 West 44th St*, y/ NQTEl The Wednesday und Thursday' sessions of this sale postponed until j Monday and Tuesday, Feb. I? and 18. SALE TO-MORROW, 2:30 P. M. AM) CONTINUING ON TUESDAY. The Most Interesting and Valuable Collection of * Old English, French and Italian Art FORMED BY MISS HANNAH FALCKE (of (?rrranl't Crvu. Buoklnphamihlro. England) (as previously advertised), Sale Conducted by MR. AUGUSTUS W. CLARKE EHRY Reinhardt ^ Son GALLERIES 565 Fifth Ave. Recent Water Color Paintings By William Jean Beauley EXHIBITION Feb. 15th to Mar. Ut. Hotel Majestic Centra! Par* West at Seventy-Second St. ART SALON DR. Util) HOVKY ALLEN, Oiwtor Exhibition of PAINTINGS CONTENTJOHNSON From February 16th to March 6th. Whitney Studio Club! 147 West Fourth St. (Just Off Washington Square) Exhibition ni Wood Engravings Monotypes Charcoal Drawings and Color Plates MIRIAM GERSTLE SALVATORE A. G?AR?N0 WILLIAM G. WATT CHARLES P. RISING February 6th to 27th THE MILCH GALLERIES 108 West 67th St. Announce a SPECIAL EXHIBITION PA INTINGS by Jerome Myers February 17 to March 1. EXHIBITION OF Modern Art Batiks by ELIZABETH LAFFON 14 East 50th St., N?w York Inspection Invited Rooms entirely decorated in Batrks in harmony with furnish? ings unique and unrivaled in artistic relinement and splendor. BELGIAN ART GALLERIES 675 Madison Avenue ?^ DECORATIVE PAINTINGS of AH Schools INSPECTION INVITED TELEPHONE PLAZA H8'-9 National Association of Women Painters ?nd Sculptor* ?i?th Anna?! Kxh_?/t??*i Feb. 16 to March 4 Admission Frt* iAUEAIES Qr THE FIKE MTS *fl 215 W. 57th St. Ardsley Studios no Columbia H< ,;il>'B EXHIBITION OF Japanese Prints and Paintings THROUGH FEBRUARY . . The Ardsley Studios ore open every m?.' eluding Sundays, throuuhuut the -?ear, FT? '.' A. M to 9 P. If. LAST Font DAYS EXHIBITION HI' (AI.IIii.iMl WILD MOW tM5 IN ?.?? ATKB ? OI.OIW BY IDA A. JOHNSON AND A GR? >l'P CALIFORNIA LAX DM IP? BY J. M. CULBERTSON ?J 15 Went 67th St. din.- Art? B11IMI?!' KKHKl AKY Ifitl? TO lath. OSGUBS*** Dndw UiB-Usplcc? -.' ? . ?.-. - d l.<--f4J??'_^J PAINTINGS Red'f ield FERARGIL 24 East 49th. The Hansen School of Fine Arts 9 East 59th Street DAY, EVENING AND SUNDAY CLASSES NOW OPEN M Send for S?-aeon Cat-?og4-.? of 1*1?--*^,