12
NEWS. AND COMMENT IN THE WORLD OF ART
Old Chinese
Porcelains
Jidst, Brontes, Glut
did tl'er Oriental Art Wsrkj
Dee&
Fukushima
Incorptrstld
619 Fifth Avenue
Tuo Ooora Mouth of 50th 8t.
PORTRAITS
oi IVORY
EDGERLY
First Public Exhibition
Dec. 7th to 22d, Inclusive
Galleries of
Gimpel& Wildenstein
647 Fifth Avenue
La Place
Ant ique Shop
HOLIDAY OFFERING
Objects of Art
end
Period Furniture
Ancient Art Works 6 Faithful Copies
Tetephoru Madison Square 717
242FifthAve(&50
and
Branch 11 East 48th St
Appropriate Gifts
Lord Darnley Milner
After Hoppner
Cottage Children
Br COX, after Oalnsboretlffe
ETCHINGS by
Brangwyn Fitton aig
Murray Rowbothatq
OIL& WATER COLORS
Artistically frnmrd Picture! ready for
delivery.
Klackner Galleries
7 West 28th Street
Between Fifth Avenue and Broadway
NOW ON FREE VIEW
SA TINO VER
GALLERIES
3 West 56th Street
QEVERAL large collections just
arrived from abroad, includ
ing many RARE MASTER
PIECES of the Fourteenth to
Eighteenth Centuries.
Modern Gallery
500 FiJH Attnue Jfsf Floor
Exhibition of
PHOTOGRAPHS
Charles Sheeler
Until December Fifteenth Inclusive
PERSIAN .
ANTIQUE
'GALLERY
On Free View
The Impnrtiint collection of Terelan
AntlcUltli' tormetl l,y the expert
R. KAHN MONIF
Faleneu Koullle from niiases snA
SultnnabaJ, tinting from the Klghth to
ihe Twelfth centurl, Includlnc many
historic and royal pieces.
Persian miniature anil manuscripts
lallnK Irom the .Fourteenth to the
seventeenth centuries, by well known
rttlsts nf the Thnur, tDehtad and Mon
Kol schools.
539 Madison At.. Bet. 54th It 55th Sis.
PARIS
TON-YING & CO.
Chinese Antiques
615 Fifth Avenue
NEW YORK
VII Nnti.u
l-5i
By HENRY M'BRIDE.
WAX.TER BICKERT, in the
November Burlington, In
soms extremely Interesting
reminiscences of his dead friend Derail,
goes to the length of saying that the
painter was Impeccably polite, though
ho admits In another place that the
chief characteristic was "a bearlike
sense of fun." Ho says:
"Or brusquerles that were bon en
fant hints, by a man of Impeccable po
liteness, was the famous 'Kst-ce que
nous vous dernngeons?' 'Beaucoup.' If
the greatest painter of the age, who
happens not to keep a footman, may
not, In broad daylight, Hay that ho is
occupied, when, In CIoiTh name, la It
proposed that ho should paint?"
"Much useless Ink has been spilt by
journalists on the subject of Dcgas's
bruquer!o. In nil the years I knew
him I have known of two Instances
only of severity In his conduct to'
friends. In the one cose a writer had
mentioned In print an net of generosity
on the part of Degas, which Inevitably
conveyed a reflection upon a third per
son. Degas considered this a public
betrayal of his private affairs, outside
the function of u critic, and refused to
sec the writer again. It seems difficult
to sco where tho hardship In this de
cision lay, since Degas, by condonltu:
tho Indiscretion, would have become v
party to It."
"In the other case Degas had sat fo
his portrait on the understanding that
the portrait was not to 'be exhibited or
published during his lifetime. The
painter was free to accept or decline
the condition. He accepted It and
there was a leakage, a reproduction
was published In a magazine. Degas
held the painter responsible and re
fused to see him any more. If friend
ship Is a form of communication, It is
difficult to see how it can be continued
after a discovery that both parties are
not using the same code. Decision in
matters of this kind is rather salutary
than otherwise."
Mr. Slckert's defence of his great
friend's memory Is charmingly loyal,
but there remains In the mind of the
reader of his article a suspicion that
Mr. Slckert has not wholly succeeded
In disproving the charge. Indeed, lie
recites anecdotes himself to which the
word brusquo might be attached by
the thoughtless. Once a word like that
links itself to a great man it is almost
Impossible to make tho vast, stupid
public relinquish It. In the case of
Degas we may be thankful it Is no
worsa a word. Brusquerle Is not a
crime, not really a in.
Call It "bearlike fun" er brusquerle,
it appears that Mr. Slckert and the
other Degas friends liked it, and It re
mains tolerably clear that Degos's ene
mies Clia not HKft It. If rtmlnri nnn nf I
that famous expletive of our Western '
cowboys, which If said "with a smile" !
is taken as a token of affection, but If i
jsuiu eenousiy in answered Willi a hill-
let. Brusquerle Is so clearly the nun
Ishment fitted for tho chastisement of
bores that It is a wonder that more
of our great men are not brusque. And
as to that, "brusque" was the word
that Degas's own brother once used in
describing the artist to me, although
BicKert can dispose of that to his own
satisfaction by haying that both of us
were journalists.
"Degas." writes Slckert. "had the
good nature and hlch spirits that at
tend a sen so of groat power exercised
In the right channel, and therefore
profoundly satisfied. The sensntion
that seemed to me to be perpetual with
him was comparable to the IrrepressI
hlo laugh of the boxer who gets In
blow after blow exactly ns ho Intended.
Ho earned his living largely. His In
tellectual vitality, assimilative and
creative, was so intense and so ab
sorbing that it seemed ho could not
be bothered with any of the expensive
apparatus of vanity and pleasure
which to less generously endowed na
tures seems a necessary compensation.
There was his work, nnd when his eyes
were tired there was conversation,
there were endless rambles through
the streets of Paris nnd long rides in
and on omnibuses. Mo u'alme pas les
fiacres, mol. On peut rcgarder les
gens. On est fait pour se rcgarder les
uns les autres, quol?' And to what
good effect ho did so we all know."
"Dagas, whose perpetual character
istic was a rollicking and somewhat
bear like sense of fun, half regarded,
and half affected to regard me, er
roneously I, fear, ns the typical and
undiluted Englishman much as Ciav
nrnl always addressed hl friend Ward
ns L'Anglais.'
"I had the privilege of seeing con
stantly on terms of affectionate Inti
macy this truly great man. 'J'al
beaucoup change' ho had said, and
whatever draught of grief was to he
mine at his dissolution I drank to 'the
dregs on that day ns I passed down
the Rue Victor Masse nnd saw the
demolished walls of the apartment that
had been since my youth the light
house of my existence. Never again
was I to enter the little anteroom
where Foraln's last published draw
ing was lovingly laid on Its soigne pile.
A polished mahogany table was
affected solely to that use Never
again should I hear old 55oe say 'Mon
sieur Degas est en courses; II ne vn
pas tarder de rentrcr. Vous restores
a diner, n'est-ce pas?' Nor anticipate
the feast of instruction nnd nmuso
ment of which I now hold the grateful
'certainty. Fantln-Latour said to mo
once of Degas, 'C'est un personnngo
trop enselgnant,' thus noting n, defect
which was to me precisely the quality.
" 'Jo voux,' he Bald when ho was
showing us his pastels, 'rcgarder paV
le trou de la serrure.' This expression,
when promptly and duteously retailed
LONDON
ruiciNii
BBBBBBBvBBv'aaBBBBRaBVBBBBBBBBBI Ib
3 BBBBBBBBBBBF iBP aBBBaBBiKyjiBMaBBBBBBBBBBB Bj
"The Great War,"
by me In London, wus received with
raised hands by the Knglish press.
The somewhat excusable prurience of
our Puritans could not conceive of
anything being seen through n key
hole but indecencies, ami on, the
strength of this subjective and
mathematically erroneous opinion
Degas was promptly classified as a
pomogrupher." '
That tho modern Kngllsh Puritans
can swerve from their strict principles
a easily as did their Cromwelllan
prototypes to the laxity of Charles the i
Second's Court Is well enough Illus
trated by the above citation of Mr. 1
SlckertV, for only a short while apo j
wo beheld all London adoring Synge's
explanation as to whero he got the
cadences of "The Playboy" "I lis
tened for them at keyholes." Mr.
YeaU and Mr. Synge had all the
young writers In England listening at
the Tteyhules until the war broke out
and they were all ordered off to the I
rront' '
wero walking ono morning ,
down from Montmartro to go to Du-
"
Kvay nannei snirt, a muffler, ami a
suit that might almost have boon
ready made. 'Co n'est pas,' 1 said,
stopping as one does on the Continent,
'Sir John MtllalH qui so preenterait
Chez Monsieur Agnew fichu coihme
vous 1'etes.' He pulled up with mock
Indignation 'Monsieur, quaml un An
glais veut ecrire unc lettre, 11 se met
dans un costume special, fait pour
ecrlro une lettre, et npros, II ho re
change. Ktre foutu ennime. quatro
sous, et ctro le grand Condc. Vnlla
l'affairc. Dltcs.' He would now and
again In compliment to my nationality
recite tho legend that appears to imv,.
Impressed him most at Brighton: 'Onil !
pieaso ovitli great emphasis -and an
air of pathetic entreaty), hadjust yure
dress bllTore leaving.' 'Quand un' An
glais,' ho once said, 'no Jouo pas lo
comedio pour lo nutres, 11 so la jouo
pour litl-nieme.' '
"The wholehearted ndmlratlon of
Degas seemed," writes Mr. Slckert,
"among the moderns to be given to
Millet, to Ingres and to the earlier
Corot; and Kceno of courso he loved.
Ho hated the 'arty' and oil exaggerated
manifestations of aesthetic Konsihiiit.-
real or affected. I remember n private '
view of some landscapes with water, i
whero two or three ladies were Rltting
mi xepaniie pours in silent ecstasies of
artistic recuelllcment, ho said to me.
'Jo n'eprouvo pas le bespin de perdre
connnlssance devnnt un otang.'
fie was rond of pointing out the
fundamental error of conception in
Zola's 'L'Oeuvre.' Zola wrecks the
Neo-Innoccnt painter, who is tho hero
of tho novel, on tho rock of a great
synthetic effort, where nrnnorlv in
characterize tho movement he should
have como to disaster on dissipation
or effort, a kind of running to seed in
sketches. Degas was also never tired !
or quoting tho force nnd concision or
Bacon's 'homo nddltus naturae,' thus
putting tho kybosb, by Implication, on
Zola'B lumbering and too often quoted,
'La nature vue-a travers un tempera
ment,' if that is tho phrase."
Mr. Slckert's remlnlscenscs are all
too short. Jlurllnpton must persuade
him to go on with his recollections.
Surely he has not told us tho hnlf.
Mr. Slckert writes with such.caso and
freedom that, his nrtlcles provide an
excellent antidote for most of the mod
ern cant-nnd humbug that pnrndes as
art criticism. And then, too, did vnu
notice the slnng? Mr. Slckert talks
.tmorirfiii much hotter than Lord
Northclllfo it must bo conceded.
Mr. Blrnbaum follows Inst year's
Dulac drawings with n collection of
water colors by Kay Nielsen,- which
are now accessible to tho public In the
Scott nnd Fowlfs Gallery. The new
artist, Nielsen, will be successful, as
was Dulao beforo him. Tho British
famo of Beardsley, Dulac nnd Rack
ham, as Mr, Blrnbaum remarks In the
preface to the catalogue, though first
established, could not interfere with
tho acceptance In London of tho pres
ent candidate for favor. This Is not
surprising to those who know London.
Tho first in tho Hue (In this line
Bcurdsloy) had to knock long ut the
door. Each huccchsIvo seller of the
goods found n readier market. As we
grow moTO llko London tho older wo
get, tho London success serves for
Now York ns well, so Mr. Nielsen al
ready pleased us whon ho pleased Lon
doners. Mr. Nielsen's nrt is very
fragile, Alt of tho Bchnol, since
Beardsley, have been fragile. Back
haul, Duluc, Alaslnlr, nil draw with
I'ubwobby linos. lit M Nielsen's,
case It amounts to filigree work. But
by Kay Nielsen.
Courtesy, Scott A Powles.
nothing plenscs liko filigree, and es
pecially at this season, when every one
will bo clutching at whatever they can
clutch In nn effort to pretend that
thero'll be a Christmas, Mr. Nielsen's
work will be found consoling. The
thin princesses, tho crinolines, the
Pierrots, the mermaids, even the
"Ghosts Playing at Dice for Their
Souls" all seem like tho night before
Christmas.
This artist has the capacity for tak
ing infinite pains. He spares no
amount of toll upon his drawings, and
his colors, too. are laid on with dlssj
cretlon. Mr. ISIrnbaum's appreciation
of him Is ns follows:
"For tho many disappointments suf
fered on a trip to Copenhagen the
only compensation offered was a
memorable visit to tho brilliant Mme.
Paul Gauguln-inot Tehura of Tahiti,
but his lawful European widow, who
talked amazingly of her eccentric hus
band while puffing uway at strong
hjack cigars. Even she, howe-er,
could give us only ycond hand in
formation aflotit the Nielsen family, to
nuet whom we bad made tho trip to
tho Danish capital. Mme. Oda Niel
sen of tho Itoyal Theatre hud Just
finished her annual engagement, the
Dapmar Theatre owned nnd nrtlstle
ally managed by Prof. Martlnlus Niel
sen was closed for the season, and
Kuy Nielsen, their gifted son, was In
London, his beloved adopted city,
where his first exhibition had gained
him fame and honor In une Byronlc
night.
''Unlike his granduncie. Prof. Ras
mus Nielsen, who began as an artist
and cndedi by becoming a celebrated
physician, 'the young man had given
up a medical career and studied art in
Paris from 1904 to 1512 under -lean
Paul Laurens, Lucien Simon. Ills coun
tryman Christian Krogh, and other
conventional teachers. Ills environ
ment from Virly childhood favored a
rapid nrtistlc'dev'elopment. His elders
had often Jestingly referred to him ns
the 'llttlo philosopher of the pencil,'
and the orlginnllty or his Intellect was
soon recognized alike by masters and
comrades lg the Latin Quarter.
"Ho was wisely advised to abandon
more ambitious and tedlus fields and
cultivate his special gifts, nnd we find
h!s originality first revealing Itself In
the charming autobiographical pen
and Ink drawings known ns "The
Itnok of Death." Their appeal to those
of us who have lived a bohemlan life
Is immediate. They breathe the senti
ment of youth at Its flowering mo
ment. Here are the tears behind the
smiles of Merrot, his region of Joyous
dreams, his dead, hopes and Utter
loneliness and tho fragrant rose leaves
trewn on the tomb of de.nl love. All
tho romantic confessions with which
Murgcr has mado us familiar are
treated with a graceful, vigorous,
graphic style which London nt once
recognized ard apDlnuded. The un-
New Hall of Classical Sculpture,
approachublo greatness of Aubrey
Beardsley, the splendor of Dulao, or
tho distinct personal charm of Rack
ham did not Interfere with his success
In any wuy, for all the critics realized
that Nielsen's talents were original
and of a very unusual kind."
Allies of Sculpture
at the' Ritz-Cartton
Elle Nadclman wHI probably prove
tho Succes de Scandals of the Allies
of Sculpture exhibition on the roof of
the Ritz-Carlton Hotel, and this too in
an exhibition that Includes Brancusls
and Matlsses. But Matisse and Bran
oust nro badly placed, while Nad el -man's
white plaster figures receive the
full limelight.
It will tio Impossible for many of
those who. In response to the, clarion
call of tlcrtrudo Atlfcrton In the pref
ace to the catalogue, will now look at
our sculpture for tho first tlnio, to take
Mr. Nadelmun's performances seri
ously, yet the others who have
watched tho young sculptor for some
time will recall that from tho begin
ning ho has been troubled by a se
quential 'series of sculptural Inspira
tions along tho tines of his present
contribution.
Nndelman has convinced fashion and
authority that ho is clever by work In
another style the "Resting Deer" can-
not bo laughed at, but not all the au
I thorttics will agree that the nude male
I figure and tho "Femmo Assise" are
clever. 1 find the "Femmo Assise" not
"only clever hut enticing, as a work of
,111-t should be. I by no means ex
hausted the "Femme Assise" In one
glance, and during my stay In the gal
leries found myself constantly glanc
ing back at the strange lady in the
garden chair.
It Is a pity wo haven't more art pa
trons of the right sort. Were it a
time of peaco, and had Nadclman spent
his recent years In Paris, he would
surely have done more "Femmes
Assises," and would have found some
one to encourago him to the exploit of
doing his curious (but clever, I Insist)
white figures in media and sizes suit
able for the outdoors, where they be
long. 11c is clearly bitten with desire
for those white figures. It will be
some time, however, beforo he gets
one placed in Central Park.
'. aBBaBM jaaaaaaaaaaaak kBTsH;H
'" BBBBBBBBBBiBBBBBTBBBBBBBBBBBBBlBi BBBBBa "
1 BfaTaTaTaTaTaTafsw -BistotoM V
$ BBBBBBBBBBBBBV7&?f BBBBBBBBBBBBBBBBBBBBBBBBB ,;:
l iiiHk ' flW ' w!sm ' 'bsP;8bbbbB
l a. vVf BBBiABBr - " IfBiBBiBBifl x
HvH' -'btbtbtbtby7 ' IbtbtbtbtbtbtJ
i x .S!X39; bIbbbbI i
i BBBBBBBU v JtoMIH j ',
' BBBBBBBBBBBBBBv -.ivaVBBVBVBU I
eBsaVsHr iafaaBBBBBaSLUBBV
v bbT "vMbbbbbbbbbBiH y
& ''laBPBBBBBBBBBBBBBBH H
l BBBBBBBBwBBBB'yy.'lSiBB 'J
"Woman," by George Grey Jar'nard, at the Ritz-Carlton exhibi
tion of the Allies of Sculpture.
Copyrlslit, r.iul Thompson.
Mr. Itirnard's grandiose ''Woman," I forgiveness for my cruel criticism--commissioned,
it is said, for the Rocke- i nnd that is quito as it should be. The
feller estate, will not arouse the debate
that still pursues his "Lincoln." It
Is Michelangelesqne, too Michelun
gelesque. The face is a composite of a
Vatlrmi SvMl nnd n cprt.llt relief.
Being reminiscent it will be accepted
, Instantly. So runs tho world. But it
hardly seems to bo the moment to
criticise Darnard's new work, however,
for tho air is still too churged with
Metropolitan Museum ot Art.
the Injustices lately put upon this
artist.
Among the excellent new things In
the exhibition are a small bronze by
John Taylor Roberts, and a plaster of
tho garden figure mado by John
Gregory for Mrs. Horry Payno Whit
ney, Mrs. Atherton says In part:
"It Is to be hoped that this exhibition
will bring American sculpture to the
attention of thoso people who hereto
fore have hardly guessed, much less
known, that it existed. It is a fact
that It Is more distinguished rind In
telligent to collect modern work,
since tho Individual taste of the pur
chaser lias no comfortablo classic
reputation to rely on. Moreover, buy
ing the work of llvlrng men contains
the exciting element of speculation, of
adventure. If tho purchaser has In
stinctive tasto nnd a senso of vuluc
in art, he may look forward to seo his
modern collection appreciate during
his own lifetime."
Notes and Activities
in the World of Art.
To tiik Editor or Tub Sunday Sun
Sir: Allow mo to fay a word to you
In regard to Mr. Henry McBrldc's com
ment on the Gorham show.
Tho American League of Young
Sculptors Is nn Incorporated organiza
tion of young artists who, with tho ex
ception of three members, oro working
independently.
lractically nil of those young fel
lows ho attacks so remorselessly have
already emerged from the period of
artistic Incubation at the sculptor's
studio. They are In tho incipient stage
of transition nnd much to natural
cause; they more or less reflect the
surroundings of their former ateliers.
Why not? Surroundings have af
fected the greatest of minds. Why
try to destroy ambitious beginnings?
Beginnings havo fooled many a critic,
and history finds a great pastime In
repeating Itself. We were conscious
of our embryonic stago when we uni
fied our efforts for an intercourse of
Ideas and Ideals, for to create a.com
petltlve power to exploit what's In us.
Uphold, at least, our 'league to tho
letter nnd -o thank Mr. McBrlde.
Anthony vb Fiuncisci, President.
"The concluding lino in the above
missive appears to hold out a hope of
first rough criticism should bo re
garded by tho League of Young Sculp
tors as merely a inilcstono in their
careers, and when they shall have
learned to forgive critics they will have
progressed far along tho road toward
professionalism. I am glnd to hear
tho young men havo left tho ateliers.
Indeed I liked all of tho letter of tho
League of Young Sculptors except
that about the Intercourse of ideals.
If you havo ideals, my friends. I
wouldn't exclmnco them for any one
else's if I were you.
In regard to tough criticisms I ought
to remind you that nobody dies of
them. After long search I havo not
found one authenticated rase of a
death from criticism. Keats did not
die or a broken heart, nil the modern
authorities now aver, nor did Chatter
ton, nor Sterne. Did you know that
even the hardy Laurence storno was
onco thought to have died from an un
kind word?
Of George A. Ileum, whose collec
tion Is to bo sold this winter 1- the
American Art Association, Willltwn
notions or London writes:
"Tho late Ceorirn A. tfonm nt,o
so many other citizens of tho United
ouues, jounu a pleasant and absorbing
rellof fiom tho cares of a great busi
ness concern in collectlnir and study
ing pictures by nrtists of tho ancient
and modern schools. And in doing so
he was perhaps unconsciously follow
ing the cxampln set by the merchant
princes of Europe from medieval times
down to our own day. Public galleries
throughout Europe liear overwhelming
evidences of this tasto for the fine arts,
and history has proved to us that the
passion for collecting was active even
during time.' or Internal upheavals
and external wars and revolutions.
We owe a vast debt to these early
collectors for conserving and handing
down to us monuments which might
otherwise havo been lost or destroyed,
and futuro generations will ho nu less
Indebted to tho collectors oC tho past
and present ct'iituile,
Tho Joy, perhaps it might bo more
fittingly termed the n'MshnesH, of ps
session Is too often tho kvymitu of
many collectors' umbltlon; and It is an
undeniable human weakness to with to
possess (something which other peop
are known to covet.
But whllo Mr, Hcarn sought rare
and Interesting pictures with the char
acteristic ardor of a man whose pas
time was also his passion, no collector
had leu of the spirit of selfishness.
He gave and lent as freely as he
bought, and his munificent gifts to
the Metropolitan Museum of Art, New
York his monumentum aero pcron
nls will keep his memory green
throughout the ages. It Is to the
splendid patriotism of such men as
ho that tho Metropolitan Museum of
Fine Arti now worthily ranks with
the grent European galleries, which
have been In process of slow forma
tion for centuries. But It was not
nlone to the Metropolitan Museum
that he was a benefactor, for he ex
tended his generosity to tho Brooklyn
Institute of Arts nnd Sciences and
other art Institutions, and In many
other ways his philanthropy was man
ifested. '
The Sheridan Square, which was
opened with an exhibition of draw
ings and posters by Norman .Tocobsen,
announces as Its second exhibition
water colors by Stuart Davis. Mr.
Davis Is the youngest of the group of
artists which Includes Georges Bellows,
John Sloan, Guy Peno du Bols, Olcnn j
O. Coleman, Rockwell Kent, Randall
Davy, Julius Goljv Homer Boss and, l
Gllntenkamp of the Mosses men
who came directly under tho Influence I
of Robert Henri either ot the Ntw
York School of Art or at his later
and more personal ecole In tho Lin
coln Square Arcade.
The annual eale for the- benefit of
the Art Workers Club for Women Is
now taking placo at the clublfouse,
224 West Fifty-eighth street. Among
the well known artists who have sent
in original work are F. M. I Ton
nettl, J. C. Leyendecker, C. D. Gib
son, Orson Lowell, Paul Stahr, Ed
ward Potthast, F. S. Church, Mrs.
Charlotte Comans, Miss Lydla Field
Emmett, &c.
Besides the art work there will be
a war relief table with everything for
the soldiers. A conservation table with
home canned fruits and preserves and i
mnnu smalt nranflost alffa In ntla,ln '
form.
This club was formed to help the
artists' models of New York. It main
tains an employment bureau for them
and a restaurant where meals nre
served at cost price.
A highly Interesting exhibition of
early Chinese wares Is open In the
galleries of Parish, Watson A Co.. Ltd.
The collection represents tho fruit of
seventeen years intensive work on the
part of H. A. E. Jaehne of Toklo,
Japan, who has done much to bring
the beauty and bigness of the earlier
potteries and porcelains to the atten
tion of the West. To this havo been
added examples from the Adolphe
Grojean collection. The pieces shown
represent examples ot the best work
ot the Chinese potters from the Han
dynasty to the Ming dynasty.
Among the 160 pieces In the cata
logue are:
A bowl of Chun ware, "approached
in splendor of color only by a similar
bowl which was in the throne room of
the Imperial Palace at Pekln a few
years ago. Its glaze has the same
nuance of color on tho inside as on
the outside, a" glowing purply crimson,
slightly dappled with pale blue. This
pleco was undoubtedly made for Im
perial use during the early part of the
Sung dynasty (960-1271")."
A sturdy pottery dog. more than a
foot In length and height, with curled
tall, cocked ears, wide open eyes and
raised head, "no doubt put In a tomb
about 2,000 years ago to guard the
spirit of the dead and to frighten off
any evil spirits. The green glaze, de
composed from long burial, is now
Iridescent nnd shimmers llko silver."
A nine-sided sacrificial wine cup,
with a hollowed baso reticulated so
tha the hot water In which It was
placed mlcht seep through the open
ings and keep the bottom of the cup
and the wine it contained warm. "The
glaze Is a thick, unctuous, gray blue
celadon color nnd its texture would bo
compared to 'massed lard' by the Chi
nese literati."
A pillow, "In all probability mado be
tween tho ninth and twelfth centuries,
and yet. In treatment nnd decorative
quality, having a strong resemblance
to the .best so-called nrts and crafts-1
work ot to-day. It Is Interesting to
note that the square pattern on the
sides is composed of four fleurs-de-lys
drawn In the same conventional man
ner as tho llllies of France."
A gallipot vase, "a wonderful ex
ample of tho bigness, strength and re
finement of the early Chlncso wares.
It was possibly mado for some v,nr
rlor lord, ns tho decoration consists
of halbert nnd broadsword and what
appear to be trappings for harness.
The glaze Is the prototype of tho so
called 'iron rust' variety, which was so
much employed during the eighteenth
century,"
The prints division of tho New York
Public. Library has arranged In the
Stuart gallery In the Library building
at Fifth avenue nnd Forty-second
street nn exhibition of Joseph Pcn
nell's lithographs Illustrating 1var work
in America, to bo on view throughout
December. To use tho artist's own
words, tho prints "show ono phase of
the wonder of the world's work to
day." The scenes in thn.varlous man
ufacturing plants aro set down with
that grasp c essentials, that surb eyo
for the picturesque, that contact with
the world about us and Its varied In
terest which aro characteristic of
Pennell's art.
WATER COLORS
Wm. Ritschel. N. A.
Henry Farrer E. Mulertt
G.1 Sigmorini F. Ba'.lcsio
OIL PAINTINGS
for the Holidays
Dudensing & Son
4.1 West 44th St., Ilct.av'h .V 01 li Ave.
To secure tho maximum of harmony and
distinction as to tho setting of art adver
tising, nnd thereby place ull dealers on
an Impartial bnsls, no gothlc or block
typo will be used, nor any eccentric typog
raphy: no white lettering on black back
ground, nor thick or solid black borders
lor anu adverlUeinent on tho Sunday Art
page of The New Voik Rim.
.Minimum siiace. I'll lines
xvm
English Portraits
XVII Ctntory
Dutch Paintings
Selected Worka
fcy contemporary
American Pointers
and Sculptors
at the
Scott & Fotcles
Galleries
S90 Fifth Avenue
47U sxl Streets
iMaKneMBsi:;;sjw
EXHIBITION
if
Sarly Qhincsc zfrt
nmfrhtni tmftrtmnt txamfltl tfilt
HAN, VANt! AND
SUNG DYNASTIES
lm ihl GtUirli, ,f
Tarish-Watson & Co.'"-
014 CMnm rcrctiin
j6o Tlfik Awr.tu AV;r Yvk
4 Cs., r y w, of hrtv .Vur h tt-MJ
Established JSS
F. KLEINBERGER
GALLERIES, inc.
ANCIENT
PAINTINGS
Spettalllts
Primitive of All Sihooli
Old Dutch Matters
Spanish Old Misters
725 FIFTH AVENUE
(Bfftrrfn Stllh andi'lh Streets)
NEW YORK
Goupil & Co PARIS
Etchings
G Engravings
ifts Photogravures
Mack White ,t in v
Fine Art Books
and
R00KW00D POTTERY
I
58 W. 45th St. rc7,rr
F.lV.DevoeC6,s
ARTISTS MATERIALS
For Studio, School and Outdoor Is: cr:
IVorld Standard
FITTED BOXES For GIFTS
from J5.00 up.
rr sals of all trelt fpilnei
retail Art fiiisily itoni
FuJton & William Streets, N. Y.
Annual Exhibition
PAINTER-GRAVERS
of AMERICA
December 10 to 31, inclusic
Aflordinn a special
opportunity to buers
of Chr.'stmai presents
MILCH GALLERIES
108 West FiftySrventh St.
(Nut to loins Cluti
brlch Print Gallery
707 Fiftli Av., nt 55th St
.voir o.v frm: r;:ir
BPr.CIAI, rATKIOTIC
KX1UHITIO.V of
Original War Drawings
by
LOUIS RAEMAEKERS
EXH1MTI0X OF
WATER COLORS by
AMERICAN ARTISTS
Through llrirmlirr
M0NTR0SS GALLERY
650 Ft fill Armor
All"! I- l.'ilh M
DANIEL GALLERY
PAINTINGS BY
CHARLES DKMTTII
E D V A R D V I S K
2 West 47th St.
i Hate. 15e per iiwalu lliu per initio
Copy requlrrd by 0 o'clock r.M, Wednesdays
f'
. f