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?--*^,