The sun. [volume], March 04, 1917, Section 5 Special Feature Supplement, Page 12, Image 58

About The sun. [volume] (New York [N.Y.]) 1916-1920

Image provided by: The New York Public Library, Astor, Lenox and Tilden Foundation

                
12
THE SUN, SUNDAY, MARCH 4, 1C17.
NEWS AND COMMENT IN THE WORLD OF ART
Br HENRY McBRIDE.
NINE paintings and a number of
drawings by llockwcll K(tit,
oil of which arc upon tho
Imaginative order, aro being shown In
the Daniel dallery.
In each picture there la something
to astonish or offend the lovers of the
academic, and this la balanced by pas
sages of undeniably Rood painting.
Whether tho ur.sual manner nnd tho
clever tcchnlquo nro secondary to a
mcssaeo of profound s-vlrltual Impor
tance or not Is something tho present
writer has not yet discovered. The
cleverness and tho HtiniiKcncss, how
over, aro acknowledge with gratitude.
Tho "House of Dread," which was
reproduced upon this page last Sun
day, is perched unon a desperately
steep cliff by tho sea. A brilliant light
as from a calcium In a theatre beats
upon the far corner of the domicile,
where a man, nude, leans against the
wall In a dejected nttltadf. From an
upper window a woman bends, her
tumbling hair obscuring her head.
Only sufficient touches have been be
stowed upon these figures to Indicate
that they are meant for human figures.
The ten Is dark and forbidding. Tho
horizon lino wabbles, but tho uncei
tainty of Us edge doea give an extra
voatness to tho ocean. Instead of fo
cusing at a given point the eye wan
ders around tho sea an It does when
searching the actual soa, and greater
space Is felt than had the horizon line
been done In the approved fashion with
a ruler. The sens-e of space and loneli
ness upon the sea In all I got from the
jturc. Tho troubles of the man und
horaan and tho calcium light upon tho
house scarcely awakened my Interest.
In tho "Voyager Beyond Life" n
man, nude, sprawls along the bowpprlt
of a ship and there Is a green sky,
studded with stars In odd constella
tions, and a forbidding sea below. Odd
constellations of tho stars appear In (
Fktto by Vollard.
Self portrait
moat of the pictures. The stars nro
trickily conventionalized. They twin
kle cleverly, however, from the funny
circles In which they uro Imbedded llko
Jowcls. In another canvas a small
ship Is about to sink with conventional
circles of water about it, and shafts of
light stretching down from a leaden
aky. In still another, a young sailor
appears tobe crucified upon tho top
of a bare pole, which may possibly
represent the mast of a ship. A land
scape, and I think it's tho picture I
like best of the series, has corrugated
ridges of rusty rock stretching across
the picture in parallel lines, and above
the sea horizon the leaden clouds that
hover over Mr. Keifl's dream country
.continually aro also in corrugated
ridges.
This is a hasty and hurried descrip
tion, but It Is perhaps sufficient to ln
dlcato that tho pictures aro odd. Tho
reader has also read between the lines
that I was not frightened to death by
the pictures as I sometimes am by u
tiny scratch from tho pen of William
Hlake. Mr, Kent Is far cleverer than
William Dlake when It comes to a
representation of things, and each of
Ills pictures has something that seems
vividly realistic In spite of tho artist's
evident desire to slum representation.
Hut In qualities of soul, or even In
CHINA
life -ymm HBi9Ki
j------fl------
MbbHI SKxfiMBlti ,4bhbH
MlillWIWMII ' I III III ill III ii ' 1 1 illllllHi
TONYING & CO.
Chinese Antiques
615 Fifth Avenue
LONDON
RESTRICTED ART ADVERTISING
appears on this page at forty-five
cents per line per Insertion agate
measurement. Minimum space, twenty
lines. No heavy CJothlc nor block
type; no ecccnlilo typography; no
white lettering on black barkgiound;
no thick borders. Art advertising
ALO.N'i; U appearing In this section of
twelve pages, und as each announce
ment is theiefore unavoidably con
splcuous, tho harmonious and distinc
tive betting places ull art dealers on
an impartial basis. Copy should be
In the Hun liulldlng by NOON every
Wednesday,
.command of a mood there Is no excuse
to bring our artist's namo Into com
parison with that of tho great English
mystic.
Mr. Kent, It seems, lias been sojourn
ing for months upon ono of tho bleak
northern American Bhorcs, Labrador,
Nova Scotia, or somewhere. Ho has
communed with himself and appar
ently has been Interrogating tho stars.
All that I llko and commend him for.
I am continually beseeching our artists
who find themselves In n rut to get out
of the rut. There nro too many agen
cies', particularly In Xew York, that are
calculated to make artists think alike
nnd to think like the mob. Artists have
no business to think llko tho mob.
They must think for the mob. The
regularity of our streets, tho similarity
of our buildings, with elevators and
studios all of the samo boxliko pat
tern, und the samo reading matter for
all! and Is It a, wonder that no one
dares to bo a Daniel, and that artists
yearn to have motors and wenr spats
like the dealers?
Hut the gift of tho spirit does not
descend upon one the Instant one quits
Ilroadway. It takes tlmo to shed old
habits. However, tho door will not
open at nil unless one knocks and
Mr. Kent may be- said to have knocked.
1'uzzllng over the question as to why
Mr. Kent's pictures only impress me
upon the technical side, I have come
to this conclusion In regard to them
that he Is still too much In lovo with
that popular and entirely worldly qual
ity known om "tho punch." Most of
our hasty artists are enamored with
the thing they call "the punch," and
1 think moro of our bad pictures hnvo
resulted from this fad than from any
other recent one. "The punch" Is some
thing that affects tho unthinking, tho
torpid, tho heavy souled. Iilako In a
whisper can breathe you Into heaven
or blast you to hell; but a cheaper
artist with a "punch" merely causes
you n temporary pain. I
And I fear our artist has been
levelling a Wow that was meant to bn
dvnamlc for the mob. Did Blake or I
by Cezanne.
any other genuine seer secure the
mob? The desire for applause upon
tho part of the artist Is Innocent
enough. There aro writers who say it
Is necessary for their sustenance. I
only know that somo of tho greatest
get along without It.
It can be argued that Christ 'him
self spoke to tho mob. But the mob
understood only the miracles. "Imme
diately His fame spread abroad" when
the man In the synagogue with tho
uncle-win spirit liecame cleansed. Onco
the multitude assembled came tho
sermon on tho mount, but in spite of
tho extraordinary clearness of tho
words there Is no hint that they alone
made converts. The people wero as
tonished at the tone, not at the words,
"for He taught them 41s ono having
authority and not as tho scribes."
There is no indication even yet that
the mob understands the sermon on
the mount, but it is sufficient that a
few get It. For tho really supremo
artist how can there bo a large audi
ence? Important Vezannes
in Arden Galleries
".T'nl voulu falre dc l'lmpresslonlsmo,"
said Cezanne toward tho end of his
life, "quelque choso do solldo ct do
PARIS
NEW YORK
Exhibition of
Paintings and Etchings
by Stephen Parrish
February 26 to March 7
Braun Galleries
13 West 46th Street
durable commo l'art des musees," and
If lie could hnvo seen his works In
stalled as somo of them now aro In
tho Arden Galleries ho would have
felt that ho had achieved that end,
Furthermore, It would have been gen
erally felt.
Not beforo In this country, and pos
sibly never beforo anywhere, have pic
tures by Cezanne been so well shown.
I missed seeing the famous Cezanne
exhibition that set London by the cars
so long ago, but I saw all the best
canvases In tho Vollard Gallery In
1'arls, and can't say that I saw them
well. Thcro was a pleasurable sense
of discovery in locating such great
works of nrt In n dingy nnd dusty
shop, turning them over to the light
as they lny stacked In the corners or
upon shelves, but it was rather the
pleasure of tho hunter tracking his
quarry to Its lair than tho finer ex
citement that comes from true pos
session. Somo of the Cezannes in tho Ar
den Gallery (although I had seen
them all before) I felt I was seeing
for tho tlrst time. The gray of the
walls happens to ngreo to perfection
with Cezanne's palette, and two pic
tures In particular which I had
thought brownish In tone now turn
out to bo studded with opals. The
ample space nllowed about the pic
tures Is another advantage, nnd there
I.' nothing to Interfere with the great
ness of the style of tho works. Tho
general effect Is monumental nnd
serious even to churchllness. It really
seems that the people who go nbout
asking "Is Cezanne great?" will be
able to answer the question to their
satisfaction In the Arden Galleries this
time. They will not dare to ask the
question once In the gallery, though.
It would be Just like listening to u
Beethoven symphony and asking "Is
it great?"
Tho still life that appeared In the
'Montross show Is there, and two other
largo still lifes that nave great quali
ties. There is a large portrait of a
man, one of Madame Cezanne, a self
portrait, somo landscapes, a landscape
with figures, and two flower pieces 1
They nil seem astonishingly fine In ,
color, astonishingly strong and as
tonishingly true.
To Individuals like the present
writer who have gone through tin
Cezanne Induction years ago and have
Cezanneism In the blood It is almost
difficult to recall the charges that the
Philistines mako against this work. It
seems absurd to have to refer again
to tho perspective in tho tables of the
still life pictures, and yet there are
people, I suppose, who when I tell
them that the only sensation I get
from such a rendering is one of In
tense realism will put me down as a
romancer. Yet such, I Insist, Is the
case. At a little distance the objects
seem solid and the big relation
ships masterly. It Is only when my
attention Is called to tho Inverted
perspective that I notice it, and then
only to take pleasure In its naive sin
cerity. The fact is the picture Is so
consistently and insistently well painted
throughout that It might have as many
technical errors for a plcturo as
Shakespeare's "Hamlet" has for a play
I've been told it's faultily constructed
and I would still love It for its great
ness of spirit.
Cezanne was another like Blake who
knew what It was to exist without
the applause of tho careless. He once
declared, "l'artlste ne s'addresse
qu'a un nombre ex'cesslvement re
strelnt d'Individus." And as n matter
of fact he was Just nliout as despised
nnd rejected of men as He who was
mentioned in tho previous article.
The story of his steady rejection at J
the doors of the annual salons has al- 1
ready been recounted In these columns,
but possibly his unhappiness at being
barred from the "Salon of Bougucreau"
has not been explained. Certainly It is
quoted from time to time by writers of
the opposition as an indication that
Cezanne would If he could have been a
Bouguereau himself. Kmllc Bernard,
Vollard, Gulllaumln and all of Ce
zanne's friends agree to the contrary.
It may have been naive, but there Is
scarcely room to doub: that the poor
man believed that If ho could onco
have his pictures In the Salon he would
be acclaimed and tho voguo of n, the same trouble with each other,
puerilities of the official set would bo I "r'a!it "'R1'1 Wi,s il wtt,r coll ono
iessoni.,1 lie lmoiv hio nven -nnn-nr in.-,. ! even though we dared not undress
most geniuses, but he was alone in tho
knowledge for the greater part of hl.s
career.
Time works curious revenges.
now have Cezanne in the most exalted
ranks. He Is acknowledged as the
most potent Influence upon tho art of
thla tlmo 1ncAiitn iHpnpl, fa will
shortly learn 'who ho Is and what his!
art stands for. Ho enters the museums'""' looning iar across mu nur .,..
as Ilouguereau quits them. Poor Hon- among the folded hills ibeyond. It was
gucreau! after sunset and the llttlo mud huts at
! my feet were sending up smoko that
drifted low across the valley. Sud
NoteS and Activities idenly below me, In the bowels of the
mountain nt my back, there broke out
in World Of Art :a soft resonant booming and an unut-
. terably sad chant. It was tho priest
Langdon Warner who Is In he celoljratlnK ownlnB )cfore the
Shansl Province. China, upon an rl- , k Th) o( vo,ce
ental "xpcdltlon, has wr tten o letter 1lmVering among the echoes, yet
to tho ' of tho ( Icveland Mu- rful pn to mn to the
seum of Art, from which tho following va wUl ,t mv,ct rum))ltn . souml
V-MUivin nil; liiimii.
"At this moment T am sitting In a
nair rumen tempio wu 1 u.e i nermom- ,
eter well below freezing, clad in a
sheepskin. A tin plato serves as re-
(lector to the candle by which I write. '
"Luckily wo are In a coal district,
and I bought a donkey load of two
huge lumps by the roadside as I came
along. When I reached the temple I
drove the donkey Into my bedroom,
heaved off his load nnd gave his mas
ter ten cents. Now tho little mud
oven is repaired and the lmy has boiled
somo cocoa and eggs and fried half
a chicken. I am lucky ns usual a
few months ago I should not have
been nllowed to leavo tho railroads for
this place, as tho bandits were about.
They got n white man nbout seventy
five miles from hero nnd held him for
ransom, But now tho cold weather
has driven them off. A little to the
North, on tho desert edgo, they are
still nt work, the Chlneso tell me, nnd
the Standard Oil had to quit shipments,
It Is the noon rest and I have been I
taking measurements slnco six and
photographs since nine. In nil that
time I have been ablo to make only
four Interior exposures.
"The caves are ho narrow and so
high that some of the best things are
quite lmposslblo to photograph with
out staging and timber would have
to bo fetched at great expenso from
several days' march away. Also there
are no Inscriptions to rub, and very
little detail within reach Is In suffi
ciently good shape to get Impressions
by rubbing. I have been crawling up
literally "on the kneca of the gods" i
to find spots to ret my tripod and I
lleprodueed by courtesy of Art In America
Portrait of
have come In plastered with dust and
guano and my eyes blinded with the
smoko from the flashlight powder; In
somo places tho guano Is a foot thick.
It would be so In my hair now but for
the kind providence which decreed thui
I should be bald.
"Tho farmers In tho little hamlet are
more like the clods they turn over in
the fields than like their beasts. One
has been carrying my kit for me and
this is his style of drawing room talk:
I.. W. Ugh!
Farmer. Ugh !
L. W. Is there any way to reach
the upper cave?
Farmer. Ugh!
L. W. Is there any way, Ac.
Farmer. Ugh.
L. W. Is thcro any way, Ac.
Farmer. Ugh.
L. W. Is there any way, Ac.
Farmer. What does ho say?
L. W. Is there any way, Ac
Farmer. Top cave?
L. W. Yes, I say Is there, Ac.
Farmer. Yep, there Is a top cave.
L. W. Can I get there?
Farmer. Yes.
L. W. How?
Farmer. Go up.
L. W. Are there steps?
Farmer. No.
I.. W. Can I go up?
Farmer. No.
I... W. How do you go up?
Farmer. I don't.
L. W. How can I get up?
Fnrmer. Get up?
Ij. W. Get up.
Farmer. I don't know.
"And so on ad lib. You may nat
urally put this down to my small stock
of Chinese, hut I notice that they have
and slept in sheepskins nnd five
blankets. My boy sleeps on the brick
ovrn lint In snlfn of thnt his flncers
ty-Jarc blue. Luckily there Is little wind
or wo could not mane even outsme
pictures and tho caves would bo
choked with dust."
"Last night I was up on the second
balcony of the temple built against the
punctuated In curious rhythms by his
sharp lell and great soft drum beats.
of comjjc J1U(ldhlsm ls nult0 icad ln
chnai un(, , I)0or oW imhy bun(llo
of rnKS wna ,ian,v worthy t0 caUed
ri(i,. i, mir in n,n
a priest but ho seemed titter ln those
rock cut chapels than tho Archbishop
of Canterbury would have been ln his
church regalia.
"I shall write you a more official re
port later this is merely to tell you
that I am on the job."
Tho .Salmagundi Club ono of the
oldest und best known artist clubs In
America nnd the oldest In Now York,
will shortly glvo up Its old homo at 14
West Twelfth street, where It has Itiecn
for so many years, for now quarters at
17 Fifth avenue, Tho now homo, pur
chased from the William O, Park es
tate, Is on a plot between Eleventh and
Twelfth streets, 30x100 feet. Tho cost,
Including alterations, will bring the
total expense for tho club up to np-
nrnvlmilAlv 1 lift (imi Tim ,lfl hninn
of tno Salmagundl'Club has been the
scene of many famous exhibitions and
has witnessed the rlso of a number
of Its members from obscurity to fame.
Its roster embraces the names of prac
tically all of the noted contemporary
artists.
C. Calusd Is showing In his gallery
a collection of nineteen of his paint
ings, principally marines. Tho pic
tures vary in subject from tho turbu
lence of tho tempest, with Its ship
wrecked men, .to the beauty nnd ro
mance of moonlight nlerhtH. Mnnv nf
ti,0 subjects ehow tho Bosporus, with
the domes of Constantinople In the
a Man, by Hals. Owned by Henry Goldman.
(distance, with the colors of sunrise and
sunset. Mr. Calusd, who is an Ar
menian, lived for many years at Con
stantinople. Some of the pictures show Mr.
Calusd's Interpretations of what he has
seen In America. "Castles of Wealth"
Is his Impression of lower .Manhattan
seen from the waterfront, "ilur Pride"
is an American warship dimly and im
pressively seen resting In a fog.
Besides there aie a few of Mr.
Calusd's chicken subjects, done In
humorous moments. "The Duel" Is a
light between two cocks, while a bevy
of admiring hens look on.
On Monday March 5; Louis Wein
berg begins his Tories of twelve lec
tures on the 'Involution of Style in
Nineteenth Century Tainting" in the
extension courses given at the College
of the City of New York. Invitation
I is extended to the general public for
single lectures; for the course a noml
, nal registration fee Is charged. In this
series of lectures Mr. Weinberg, who
Is n leading expositor of the moderii
spirit In art, traces the changes in
Still life, by
n?sthet!o viewpoint from the ps-eudo-classkism
of the "ICmplio" period
through romanticism, tho Uarbizon
school group, tho Pre-naphaelltes.
Impressionism, Post-Impressionism,
Cubism nnd Futurism. These nro dls
cussed In relation to their social and
Intellectual backgrounds; the under
lying f-sthetlc theory of each Is ana
lyzed and the leading historical ex
amples of each are slunvn ln slides. In
this manner the "onrrectnoss" and
formal beauty of D.nid and Ingres, the
Impulsive and passionate art of Dela
croix, the deliberate poetry of tho Hai
blzou men, tin- passion for "truth" of
I3,iumler and Courbet, the sun worship
of Monet, the form worship of
Cezanne, the sophisticated naivete of
Matisse, in all of theso and others tho
constant search of a restless century
of experiment Is traced
Although tho course alms at nn ap
preciation and understanding of the
Intentions and realizations of nine
teenth century art the lecturer places
emphasis on the quickened sensitive,
ncss to life Itself which Is to him the
mesMigo of art. Students of literature,
music or oven of history wil! find In
this courso tho Interest of parallelism,
as the lecturer develops the evolution
of stylo In painting by parallel ref
erences to other arts and to the trend
of social thought as well,
"American Painting from the Orlgl-!
nols in Current Kxhlbltlons, Including
tho National Academy of Design and
the Metropolitan Museum of Art," Is
the subject of a new course of six
lecture promenades offeied by George
Krlehn, Ph. D on six Thursdays In
Lent, beginning March 1 nt 10:30
A. M. in the Metropolitan Museum.
Another course announced Is "Old
Dutch nnd Flemish Masters, From the
Originals in the Metropolitan Museum,"
which is particularly rich In these sub
jects. It is held on six Thursdays at
1!:30 P. M., beginning March 1.
At Columbia University In the Avery
Architectural Library Is now to be seen
a most interesting collection of draw
ings, the work of Carrere & Hastings,
architects, designers of the New York
Public Library, the New Theatre, the
hall of the House of Representatives,
Washington, D. C., as well as a numler
of other structures.
In addition to those above mentioned
there aro drawings of the Tower of
Jewels, Panama-Pacific Exposition;
Black, Starr A Frost Building, New
York city, Andrew Alexander Build
ing. New York city; the Whiting
Memorial. Cathedral of St. John the
I Divine, ltnn Gallery, New York city;
Globe Theatre, New York citv, Pulitzer
Cezanne, On exhibition at Arden
Fountain. New York city; Memorial
Amphitheatre, Arlington, Va as well
as a number of others, all demnnstrat-
ing the utmost facility of dmwiiik, for-
tillty of design nnd accuracy of
draughtsmanship. Ono rarely sees
even ln New York so varied n colleo-
tlon of drawings of executed work.
There are Included several renderings
by Jules Guerln.
It will bo illuminating to the Inter-1
ested layman to observe In this exhi
bition the architect's mode of attack, 1
and above nil will bo demonstrated tho
conscientiousness and care which are (
among the primary virtues of the
modern designer. t
The exhibition will continue Indell-
nltely and is open to the public. Tho .
Avery Library Is open from 9 A.M.
to (i P. M. and from 7 to 11 P. M., ex- j
cept Sundays.
Tho fourth competition oiganlzed
by Friends of the Young Artists, which
Is for decorators and which Is being
exhibited In Mrs. Harry Payne Whit
ney's studio, S West Eighth street,
will bo oper. Sunday afternoon from
2 to B and Monday from 10 A. M. to
10 P. M. Monday is tho last day.
Hereafter thero will bo no more
prizes and no more Juries foi the com
petition! held by tho society. Yet
thero will bo competitions nnd even
greater Inducement to compete, In
stead of prizes purchases will be
pledged, thus Insuring a certain sum
to bo spent. The. now ruling was the
suggestion of Mrs. Harry Payno Whit
ney and was at once ween better to
accord with tho aim of the society to
help tho young artist, whoso Imme
diate need Is a placo to exhibit and n
chance to sell his work.
Tho foclety expects soon to have Its
own galleries, where not only competi
tions will be held but what Is far more
Important continuous exhibitions by
young artists, tho walls to bo allotted
Impartially and the prices to be set by'
tho artist" himself with no middleman's
profit extracted. Later tho society
hopes to have Its own building, where
needy young artists will bo provided
with models; materials and a place to
work nnd whero several resident
scholarships will be offered.
Tho office of the American Scandina
vian Foundation In New York ni.
nounccs that In response to urgent
public demand It has been abtc to effect
tho organization of a pennanrnt room
for the exhibition and sale of Scandina
vian nrt objects. The enterprise is
supported by private subscriptions nnd
will not In any way nlllclnlly be con
nected with the foundation. Tho exhi
bition Is to lo called "Tho Scandina
vian Art Shop" and Is located at 72S
Madison avenue, near Sixty-fourth
street. Dr. II. G. Leach has consented
to act as president for one ;,oar and
to assume' all responsibility for the
business management. Dr. Christian
Brlnton, the art critic, is chairman of
the ndvlsory committee. Tho Interior
of the shop has been designed by the
Arden Studios, Inc., as a "Cnrl Law
son" room from water colors of Carl
I-arsson, ntdeil by original sketches
made for the shop by MasOlle. Mrs.
Jessica Griffin of Boton, wife of the
artist, has been appointed manager of
the shop.
"The Scandinavian Art Shop" will
open March fi with an exhibition of
etchings by MasOlle of Sweden nnd
statuettes by Karl ond Ruth MlUes. It
is proposed to have small travelling
exhibitions from time to time and n
permanent stock of porcelains, prints,
fine books, weavlngs, lace and Jewelry.
Orders will be taken for work In north
ern arts and crafts, especially needle
work of Swedish, Norwegian nnd Dan
ish design. As the result of a contest
the prize for the best design for a let
terhead and seal has betn awarded to
M. Hasselrlls. It Is, a Viking ship mo
tif In a circle.
Prof. Charles Kueblln helped five art
societies of New York to boom art in
democracy. "Fifth avenue," he de
clared In his lecture, "Is full of ugly
things thnt 110 one wants anil that no
sane person should want." "That de
mocracy were wise," he asserted, "that
followed the rule of tho craftsman
Morris, who said he would never make
things that a fool would want." "Or
ganization," said Mr. Zueblln, 'Ms as
necessary In art as in military affairs.
If wo would get on In art we must or
ganize society so that our standards of
taste aro not set by tho foolish rich.
Art Is a social bond and tho people
have a right and the power to use it to
reshape their surroundings In terms
of beauty."
Tho meeting represented the efforts
of live different nrt societies to arouse
interest in tho need of practical art
teaching ami the value of artistic
ideals to tho American people. Tho
organizations reprcnented were the
Municipal Art Society, the Art Alliance
of America, the Art In Trades Club
and the art department of the high
schools. These Joined with the School
Art League, under whose auspices the
meeting was held.
"The democr.io of the Ameilcnn
people," said Dr. Merle St. Croix
Wrlcht "Is one which presses steadily
Galleries
, forward toward nn Ideal. It believes
In equal opportunities, but knows that
equal opportunities do not mean the
xame opportunities for every man. In
this Ideal of democracy art plays a
different part. It Is the stimiil.it'ioi-
tiling, tho ameliorating thing, in this
way it is a direct aid in making a
democracy, and no democracy woilhv
of tho name can exist without It. The
nrt of a democracy should not be
something ah of, hut rnthor something
which comes In friendly contact with
i vory Individual, in his work and pl.ij.
In bin business and ln his leisure."
EXHIBITION
of
MINOR ART
Goldsmith Work and "Orfevrerie Religieusc"
Creek, Roman, Gothic, Renaissance
Until March 31st, 1917
Canessa Galleries
1 West Fiftieth Street
PARIS
NEW
OSHIMA
Art Galleries
Exhibition
Rare Examples of
Antique
Chinese
ART
Recently purchased in China
14 West 40th Si.
Opposite the Public Librar)
Scottish Landscapes
Highland and Baronial Interiors
C. Lewis Mitchell
oF Dundee
Match to 17Ji did 3l ,
Arlington Galleries
274 Madison AvenueVnh"t
PAINTINGS
BY
Ellen Emmet Rand
March Jrri to 17th
Durand-Ruel
12 East 57th Street
GOUPIL&CO ,4
r.xmniTioN ok
PORTRAIT DRAWINGS
Ily
Elizabeth Howell Ingham
March 5-17 Inclusive
ThcELlSEO MEIFREN Exhibition
Extended to March 10th inclusicc.
58 Vresl 45th St. u, flj'r.
COADY GALLERY
ANCIENT & MODERN ART
INTERIOR DECORATIONS
THE ART VALUE AND
THE MARKET VALUE OF
EACH WORK PERMA.
NENTLY GUARANTEED.
489 FIFTH AVENUE
Montross Gallery
Twentieth Annual i:liilllln
Ten
American Painters
March CM to t ',l,
550 Fifth Ave. fVh5,
I N N E S S
Now on Exhibition
28 Paintings
Hy
George Inness
George H. Ainslii;
15 IMf tit Avenue
Modern Gallery
500 Fifth Autrit Mettanim i'kw
Exhibition of Paintings
hy
Daumier, Guys and
Toulouse-Lautrec
R. Dudensing & Son
Paintings in Water Color
G. Signorini
Also ralnilnK" ttv l r n
45 West 44th St
YORK
NAPLES
1