The sun. [volume], December 07, 1919, Section 7 Magazine Section, Page 12, Image 100

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

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

                
12 f THE ' SUN, SUNDAY DECEMBER 7, 1919.'
NEWS AND " COMMENT IN THE WORLD OF ART
By HENRY McDRIDE.
TT seems at tlmea 03 though Eu
gene Hlgglns might emorge from
opaquo atmospheres that ho bor
rowa from other painters and stand
forth clearly enough to do viewed as a
poet In Ills own right. There are two
or threo pictures among the twonty or
bo that ho Is now showing In tho
MuS8man Gallery that oncourogo one
In this belief. His "Greenwich Village"
and his "Lonely Road" (I think that
la the title) oro somewhat mullled but
have genuine feeling Just the name.
Tho majority of the other canvases
are scarcely more than echoes from
tho Barblzon school. It Is true that
we In Now fork sco enough person
ality In them to recognize at least the
authorship when wo encounter Mr.
Hlgglns'a pictures In mixed shows, but
and his "Lonely Hoad" (I think that's
the tltlo) are somowhat mullled but
stuff for us.
Advice to a man like Mr. Hlgglns,
Who seems to be standing, Uko most
of the old men In his pictures, hesi
tating at tho choice of two roads, Is
dangerous and, shall not bo proffered.
On whichever road ho decides to travel
something will happen to him: he will
catch up a trifle with life, and'when ho
has some genuine heartbreaking ex
periences with this latter ho will sud
enly forgot all about Jean Francois
Millet, and will perhaps find that It Is
possible to be eloquent, even with an
American accent. If ho doesn't It Is
difficult to seo how he can hopo for
true distinction.
Tho collection of prints by Edvard
" Munich of Christlanla.Norway, has
been placed on vjew ln - the' Bourgeois
Galleries. Mr. Munch must 'naturally
be a cahdldato for International fame,
since all artists aro that who are
aware of themselves at all: but it is
not at all sure that the present exhi
bition will do the trick for him.
Mr. Munch' is known hero to n re
stricted degree as a robust painter
with a forceful palette. Before the
war eome of his canvaHes were shown
to us in the Scandinavian Exhibition
at tho American. Art Association and
were admired, particularly by painters.
There was no loud outcry about them.
The visiting artists, Inspecting tho
rooms, said 'These aro good" to the
Munch pictures,, and passed on. They
wero. In fact, among the best of all
those Scandinavian productions that
were left after the elimination of the
croup by Zorn, the one northerner who
has gained undeniable renown. But,
oven with the commendation there was
a doubt If .Mun ch could ever bp gen
eral enough in his humanity to gain a
footing with Zorn: The present writer,
for Instance, already forgets the Munch
pictures of a few days ago. All ho re
members Is thinking them good at the
time. They were not, apparently, dis
tinct enough to hqvp represented an
epochal experience for him. Zoros,
however high or low they may bo rated
by Individual critics, aro not so easily
forgot.
Tho etchings, lithographs and wood-
WANTED
To Purchase
Paintings
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Inness
Wyant
Martin
Homer
Fuller'
Blakelock
Twachtman
Remington .
Whistler
Murphy, Weir, Hassam
GEORGE H. AINSLIE
615 Fifth Ave. New York
See my Exhibition of
Thirty fnnes Paintings
Exhibition PAINTINGS
BELLE A. BENNETT
EOSEMARY MHNDY
JOSEPHINE THOMSON
AGNES LOUISE SYMMERS
Dec. 1 to 13, inclusive
ARLINGTON GALLERIES
274 Madison" Avenue at AOlh St.
CIACSEN Gallery Established 1S8I
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tneorporatat
Paintings, Engravings, Etchings
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in LIFE t SKETCHING
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for School. Studio & Outdoor use
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from $5.00 up
rttatl Art fiupptv Storti
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"Jjalcartian Peasant," etching by Zorn, at Keppel'a.
cuts In the Bourgeois Galleries show
Mr. Munch to .be tho man of force h"
was remembered to have been, but do
not exhibit him In a happy light eillicr
as lithographer or etcher. He seems
to be no more at homo In the medium
if etching than Manet was and It Is
listlnctly kind and friendly of me to
bring him Into company so quickly
with that concededly great man
Manet's etchings will always havo tholr
value, not only for the "association
sake," but because of the personal
quality that 'colored every stroke he
ule; but at the ime time. In nil af
fection. It can be granted that he was
not much of nn etcher. With equal
iffection, no doubt, the world of print
lovers will accept Mr. Munch's black
and white performances later on, If he
paints his way into public favor. The
door of the house that is still closed. I
believe, to Poe. will not yield to him.
however, because of tho prints now
shown.
The subjects are far from being en
ticing. Every other one seems to be
a "vampire or some description.
"Vampires" are all very well In the
movies, but who really takes a deep,
.serious interest In them? Mr. Munch
might retort: "Ibsen," for there Is a
superstition among the circles that try
to Justify vampe'rism that Hedda Gab
ler was one. But was sho? She had
the grace, when she discovered she was
Incurably wrong In this life, to shoot
herself with a pistol a thing no vam
pire does. Vampires permit the other '
people tp use pistols. Hedda, too, was
i ore than perverse she was Driwani ,
Mr. Munch's creatures, alas! are of
tho plain, ordinary movie variety, and
are Incapable of stirring more than a
movie audience.
There are one or two studies of
animals that have an attractive clever
ness. Tho lines have the suavity that
comes from long practice, uui uic
animals, as animals, nre little more
attractive than the vampires are as
vampires. One of the best Is a "Tiger,
No. 57." but the tiger's face bears a
strong resemb'.anco to some human
being well known In politics, 1 forgot
whom, but not he who Is known as
the "Tiger" In France. ' ,
Christian Brlnton. who has had the
pleasure of. a personal acquaintance'
with the artist, writes the entnusi
astic preface to the catalogue. Much
of this may be quoted, for there is
nothing Tub Sun so much deplores aa
the scarcity at present of International
artistic heroes and If anything In tho
way of publicity may assist Mr.
Munch to be one The Sun is disposed
to help. Mr. Brlnton writes:
"The first exhibition In New York
of the lithographs, woodcuts and ctch-
Ings of the Norwegian painter and
graphic artist. Edvard Munch, is an caaa orr a characteristic drypolnt, or
event of significance In the art world. "lonp In the tlllness of his room lis
Virtually unknown to the American would Jt down from memory casual
public the work of Munch has long Impressions of the evening. Tho
been a storm centre In his own coun- haunting eyes of the Poet Obstfelder
try and about him has raged a battle the eagle glance of Strlndberg. EvaCti
notablo for Its duration and bitter In- doccl and her violin, Hans Jaeger with
tensity. Like Hodler In Switzerland his half drained glass of absinthe on
and Willumsen in Denmark, with 'each 'he table. Ibsen. Henry van der Velde,
of whom he shares not a fewu points 'he volcanic Nietzsche he noted them
In common, Munch has at last won his all with searching perception, not for
flght for acceptance, both popular and getting his own ardent, sensitive coun
ofllclal. His Impressive series of mural tenance as revealed In the lithograph
decorations for the University of Chris- executed In Berlin In 1SS3.
tlania have-finally been completed and, "Yet neither were the paintings nor
put in place and he Is to-day recog- j the graphic work long restricted to an
nlzed as tho foremost Norwegian I Interpretation, however free and per
palntcr and ono of the leaders of con- j sonal, of the outward and the objec
temporary Scandinavian art tlvo. Thai purely physical universe
"For some years past It has been I which In the art of Christian Krohg
the fashion to speak of Edvard Munch well nigh oppresses us with Its sense
as a realist, a follower of that rigorous , of weight and sheer terrestrlallsm, is
naturalistic tradition which, during the J translated by his pupil Into a world of
eighties of the last century, found ex-1 psychic evocation, of dreams and dark
prefslon In the pages of Emlle Zola fantasies over which is -not Infre
and the paintings of the redoubtable quently spread the scarlet trail qf tho
Norseman, Christian Krohg. Realism serpent, tho stamp of sex and of sin.
was, however, merely Munch's start- This son of a physician whose mother
lng point and to-day ns we survey his died when he was but a lad. nnd
troubled, yet aspiring achievement, wo whose sisters suffered from constant
find In It little save passion and Im-, ill health, came ail too Inevitably by
agination, a dynamic graphic Intensity his taste for the morbid and tho
and a gift of personal vision and In-1
terpretation that freely transcends
meie actuality."
Unlike many of hla compatriots.
Edvard Munch is typically urban. oJ
man of the town, not the country, a
child of modern llfo and feeling in
whom numerous latter day currents
meet and blend. Born December 12,
1SG3, at Lolten, Hedcmarken, the son
of a physician, tho lad's parents short
ly removed to Chrlstlanln, where he
bfgan his artistic training attheltoynl
School of Design and later studied
with Christian Krohg, nnd in Paris i
under Bonnat While scarcely out of find anything comparable to such com
his teens he became Identified with I positions as Edward Munch's 'The
that group of Chrlstlania artists and, Kiss,' The Vampire.' 'Jealousy.' 'Con
men of letters who are pictured with notation.' nnd those stark death cham
such unflinching frankness In Hans ber scenes wherein his mastery of
Jaeger's KrlsUanla Boherae. With hla j black and white equals that ol the
a 1
ambrosial hair, his clcancut countc
iukp, and ardent (esthetic and social
radicalism, he quickly assumed a lead-
rebels who now scaled Olympus, and
r.ow descended Into the troubled
waters of dark Avernus. His experi
ences were duplicated in Berlin, where
he became the centre of a cotcrio
which Included Willy Pastor, Meicr
Graefe, Hartoleben, Franz Servaes,
August Strindberg, and that Insatiate.
xearcher of souls, Stanistaw Przyby.
szcwskl. They used to foregather
i.lghtly at the Schwarze Ferkl, and
P ' was mainly owing to their efforts
and their championship of the young
Norwegian that tho Berlin Secession
came Into being.
No matter where he was. whether In
Christian!.-!. Berlin or Paris the VmU
of Strlndberg's Inferno Edvard Munch
worked unremittingly. Aserlps of Im
portant canvases, at the head of which
stand "The Sick Girl" and "Spring,"
placed him, though yet In his twenties.
Rhages Vases, Persian Art, at the
amongthe foremost artists of the day.'
Painting In oils did not. however, sat
isfy the young man's res'tless creative
temperament. He craved that freedom
ol expression which comes with th.
rapid, salient stroke of needle or
crayon, and those rich appositions of
black and white which are the glon
0 a freshly pulled proof. 'Wherever
he chanced to be, Munch would draw
or etch. Seated In the cafe, he would
b' slip from his pocket a plate and
pathological. Endowed with a super
sensitive nervous organism, he cast
about him for some means of escape,
some form of solace or compensation.
finally succumbing to the troubled
ppell of th,a senses and the soul.
Shrinking from a world of definite
reAllty. he sought refuge In a realm
where spirit and fancy reign supreme.
At heart an emotional romanticist, he
quickly forsook his master, Krohg, to
follow the shadow haunted pathway of
Toe, Baudelaire and Fellclen Hops.
You will have to travel far In tb-
field of graphic production In order
Frenchman Vallotton, and frankly
surpasses him in tho power of psychic
luggostlon. In each of his chosen
media, whether etching, lithography or
wood engraving, cither In monochrme
or in color, he reveals tho same gift
of spontaneous symbolism. While
ochnlcally he may at times appear
ieflclent In finish or precision, yet he
never falls to convey tho Inner elg
llflcunco of a subject, whether It1 bo
.1 frail, childish ' soul battling frult
eosly for light and life, or n pair of
overs In the ecstasy of mldsummor
night madness.
"Sated with city life and a victim of
that ,world weariness which la the bit
ter portion of sensitive souls, Munch
settled first at Aasgaardstrnnd, where
ho painted a memorable series of noc
turnal scenes,' now showing groups of
figures dancing rhythmically In some
fjordsldo grove, now a cluster of white
'lad girls chatting on a narrow
footbridge. Steeped in suppressed
luminosity of tho northorri summer
night these canvases aro Instinct with
mystic suggestion, for tho habitue of
cafe and restaurant' was equally at
homo by tho waters, In the dark wood
ind under the far stars. "The Voice of
Summer Night," "Women In the Moon
light," "Lonely," and "Evening" are
notable among tho graphic rocords
of this particular phaso of de
velopment wherein ho proves him
self a lyrist whoso mood recalls
tho tremendous exaltation of Al
fred Mombert's verse. No ono has
pictured tho Scandinavian night as has
Edvard Munch. And, true to hjs Inno
reactions,! he has .endowed theso land
scapes, with their scattered groups, or
solitary, Isolated figures, with a senso
of that Indefinable awe, tW cosmic
fear from which ho has never beep
able to escape
"Unaffected by tho robust realism in
I vogue when he stepped upon the scene,
untouched alike by tho vibrant shim
mer of Impressionism, Edvard Munch
stands an Isolated figure In the varied
panorama of modern art. His subject
matter is personal, is based entirely
upon his own Individual reaction?
psychic and aesthetic and his technique
Is typically free and Indigenous. North-
prn In nl3 imaslnatlvo fervor, his tern
oeramcntal restlessness and his
strange fusion of lvrlc exaltation and
deep rooted pessimism, ho Is yet 6impie,
almost childlike at heart"
' "It was my privilege to seo Munch
frequently during the summer of 1012,
when I was engaged In selecting the
paintings for the Scandinavian Art
Inhibition. We first met in tho office
of Director Thlis in the National Gal
lery and after a congenial preliminary
chat we strolled across to the Hall of
the University, where he had Just put
in placo certain cartoons for the large
mural panels which were fated to dis
rupt public opinion In Norway and
which were not formally Installed un
til . four yearn later. I vividly recal'
him as we sat In the gallery or moved
about the main floor, studying and
discussing the compositions from
every angle and every conceivable
point of view. And never .shall I for-
Bush Terminal sales building.
ret his undisguised delight when, as
wo strolled out together, he chanced
o overhear a painfully conventional
.ndlvidual exclaim: 'Well, they are
kWful, simply awful; but I Just had
o see them!'
'The following day wo met again in
tho Hall of the University, and after
in early lunch at the VIctotia Hotel
he has long since abjured tho Grand
wo stepped aboard his new motor boat,
the Martha II., and headed down the
ijord for Hvldsten, where he occupies
a commodious villa screened by plne
'and snugly nestled on tho slope of tho
hill. After getting on friendly term."
Hudson River Scene,
with a sprightly fox terrier and a
handsome Gordon setter, and Inspect
ing the garden, of which he Is Justly
r.roud. we sat down to a comfortablf
clnner prepared under the solicitous
eye of the Indefatigable ArenPa.
"Tho Munch you seo at Hvldsten, or
nt Kragero, his other and larger place
further down the fjord. Is n different
mnnjfrom the-Munch you meet In cafe,
mupeum or studio. The countenance
scarred by Intensive struggle and sut-
IHBHWWIIM
ferlng, brightons as ho chats volubly
of the brave- days In Berlin or Paris,
when he belonged to that valiant little
band who did not fall to leave their
mark upon tho art and letters of their
generation. He seems to forget th
while his bitter fight with the unlver.
slty authorities, and tho innumerable
conflicts that' havo been waged about
him since his first nppcaramo as a
professional artist when ho was . but
21' years of age. Scattered about the
walls' and resting on tho floor ore all
manner or unfinished studies ana
sketches, for tho genius of Munch Is
ever in a state of creative ferment.
Ills art his never been reduced to a
definite formula. His outlines aro not
fixed and his color seems to take on
fresh emotional significance with each
successive composition. Ho has often
painted or drawn tho samo .subject a'
numbor of different times, each version
being typical of his own Inner unrest,
his still unappeased costhotic striv
ing.
"On the occasion of.my first dinner
mi 1 1' m mi
Self Portrait, by Munch, in
Galleries.
at Hvldsten we lingered congenially at
the tiblc. and afterward set-out afoot
through the forest to visit the slto of
wmc ancient ylklng graves on the
nountaln side not far from the' water's
edge. He strode ahead, turning now
and then to call my attention to some
nylvan effect which he particularly
admired, and at the end of half an
hour's tramp we came upon a series of
rude, moss covered mounds. Clamber
ing up tho sides we settled ourselves
on the crest of tho largest of the5e
low lying pyramids. And as he sat
there bareheaded, the scene bathed in
the diffused radiance of a typical north
ern summer night, ho seemed the In
carnation of that restless, militant
spirit which characterized the berserks
of the past. The old order had long
since vanished, but he still preserved,
alike In his art and his life, something
of the samo turbulent, questing as
piration." The official announcement of tho fn
dependents has Just been received. It
H as follows:
In announcing the fourth annual ex
hibition of the Society of Independent
Artists tho directors wish to reaffirm
tho purpose of the society, namely, the
ho'dlng of an exhibition each year, to
which all may contribute (no Jury)
and in which no distinction shall be
made among the exhibitors (no prizes).
The threo exhibitions which the so
ciety has already given consisled of
tho work of artists who bellove that
there should bo one great nnnual
showing of nrl in which every ten
dency can bo represented, where each
artist can show what ho wants to
show, Independent of tho sifting out
process of juries, which, however well
consUtutcd, have always made mis
tikes, and bad mistakes, either through
tho shortness of tlmo for Judgment or
through antagonism toward one or an
other typo of art. The exhibitions of
tho society have therefore had no other
character than that of giving a sort of
nnnoramic view of American- art at
tho time, all schools and all sections of
the country having been pretty fully
represented, ns well as a number of
foreign artists.
by Homer Martin, on view at the
Old and new exhibitors will bo work
ing for their own advantage nnd at
the Mmo time will bo serving In the
development of American art If they
urge all artlst3 in whoso work they
bellevo to becomo members of the so
clefy. The level of the exhibition
should bo raised as, high as possible by
contributions from all the strong
workers In the country. No attempt
will or can be made to keep out ex
hibits considered bad by one person or
by many persons. It has been by Its
prlnclplo of giving every artist equal
opportunity that the society has al
ready achieved an upprcclablo success
in gaining recognition for workers who
1iod not beforo been heard from, and
In bringing about a fuller understand
ing of contemporary art. It Is this of
fort which must contlnuo and to which
every artist must give his help.
Tho exhibition of 1920 will bo held
nt tho Waldorf-Astoria Hotel, New
York, from March 11 to April 1.
Any artist (painter, sculptor, etcher,
'ithographer or other worker In itho
graphic and plastic arts) may become
ar actlvo member of tho society and
contribute to tho exhibition upon, pay
mont of a year's dues, which this year
will be $10, This sum must bo re
ceived by the treasurer no't later than
January 10, 1320, In order to reserve u
place in the exhibition. Two works of
tho smaller sizes or one of larger alzo
may bo shown by each exhibitor. A
later notico will state exactly theso
limitations.
77
11
nm1
the Print 'Exhibition, Bourgeois
The preceding exhibitions; havo not
paid for themselves throusn the dues
of the active members and through the
gate rccorpts. Tho dellclt, while small
has been mude up by persons who be
lieve In tho work of tho society and
want to see it contlnuo. For such
persons, not necessarily artists, who
deslro to give the society their a a
without taking part In the exhibitions,
a class of associate members ex'sts,
Their dues are $10 annually and they
receivo the general notices and
catalogues of the society and members'
season tickets to its exhibitions. The
activo members nre strongly urged to
further the work of the soe'ety by ob
taining tho support of as many as
sociates as possible.
Exhibitors are requested to furnish
photographs of lieir works for tile
publicity committee to use !n news
papers nnd magazines. It is important
that a good supply of such material be
on hand at tho ofilce a month or two
In advance, as It. Is always needed to
Illustrate art'cles appearing before or
during tho exhibition.
All communications should be ad
dressed to A. S. Bayllnson, correspond
lng secretary.
Cllvo Bell's respectful attitude
toward cub'sm is not surprising in
itself, It Is only surprising in that the
artcle In which he shows it has been
allowed to appear here. Most publica
tions 'n America Jumped to the amus
ing conclusion that cubism was Im
moral, and with reawakened Puritan-
Ism burled their heads in the sands
unt'l the storm should pass over. But
tho storm still lingers, and Cllve Bell
writes in the A'eto Rcpullic:
"Whoever may have rescued Euro
pean painting from tho charming dis
order of the ago of reason, there can
be no question ns to who ived !t
trom tho riot o f Impressionism. That
was the doing of tho post-Impressionists
headed'by Cezanne. Forms nnd
colors must be so qrganlzed as to com
pose coherent nnd self-supporting
wholes; that !s the central conviction
which lias Inspired the art of tho last
twenty years. Order, that has been
the watchword, but order Imposed from
within And order so Imnosed. order
Schultheis Galleries.
Imposed by tho artist's Inmost senso
of what a work of art should be, is
someth'ng altogether different from
the order obtained by submission to a
theory of painting. Ono springs from
n personal conviction; the other Is en
Joined by author'ty. Modern artists
tend to feel strongly the necessity for
the former, and. If they be French
men, to believe Intellectually In the
propriety of the latter.
"Look at a plcturo by. Cezanno or
by Picasso. What1 could bo more or
derly? Cubism Is nothing but tho ex
tremo manifestation of this passion
tn- nrAt.f tnr ihn rnmnlcto organiza
tion of forms and colors. The artist j
prejudices, his peculiar way of soelng
an.' feeling, his whims, his fancies I
nnd hla eccentricities, to a dominant i
sonse of design. Yet tho picture isj
iwreonal. In tho first placo a picture ,
mnot hn nn nrcnjllc wnoie. DUl uuu
nrhnln tnnv hn made un of anything
thai happens to possess tho artist's
mlDO. NOW IOOK ttl I liuiiuvu
Baudry or Poynter, nnd you will see
tho inn rennt in nalntlncr by precept.
The virtuous apprentice has stuck to
tho rules. Ho has done an inai bib
teacher bade him do. And he has
donp nothing else. David ought to
bo pleased. Pray, M. Lhote, give him
top marks."
EMftv.two oil Dalntlnss. principally
war subjects, arrived from France yes
terday and will be exhibited here this
winter. They are the work or Piatt
Huhhnrri n vounir American artist
who served as a Captain In the Bed
Cross during tho war. Mr. Hubbard,
who Is staying at tho Mannaiian
Hotel, has Just returned from France
after several months work in the
devastated regions. Ills collection In
cludes portraits of soldier types, land
scapes and views of the rums ot la
mous buildings, noUbly- the Rheims
Cathodrol. After exhibiting his work
here Mr. Piatt expects to return to
Paris, where ho has maintained a
studio for ten years.
Thn nw noster bv Charles B. Falls
tnr inhn nrink water's "Abraham Lin
coln" has been placed by tho Metro
politan Museum of Fine Arts in lis
library as a splendid example of poster
art This makes the second coniriDu
tion by Mr. Falls to that Horary, the
first having been his poster ot ra
Banter In "East Is West." Inciden
imIIv William Harris. Jr.. nroiuccr ot
"Abraham Lincoln," thinks so highly
of tho new Falls poster that ho nas
copyrighted it.
Notes and Activities in
World of Art
The following Is tho list of exhib
itors who are represented in the fourth
annual exhibition of the Brooklyn So
ciety of Etchers, which will' be open
to the public In tho Print Galleries of
the Brooklyn Museum on Wednesday,
December 3, to contlnuo through the
month:', ,
Hosallnd Abramson, John Taylor
Arms, Adolph W. Blondhelm, Theo
dore Bolton, lEdward Boreln, George
li. Burr, lloland Clark, Elizabeth Col-1
well. Frederick K. Detwiller, Kerr Ely,
J. S. Eland. Robert Lee Eskrldge, Ag- j
ncs B. Fernbaoh, Sears Gallagher, Os-
car Globerlch, Anne Goldthwalte, Mor- ,
ria Greenberg, Arthur W. Helntzel-
man, Chllde Hassam, Eugeno Higgins,
Bertha 13. Jaques, Troy Kinney,
Charles P. Larson, Sclmu Lee, Chester
Lclch, Beatrice S. Levy, Margaret
Manuel. Joseph Margolles, Katherino
Merrll, William Meyerowitz, Marylka
Modjeska, Boss E. Moffett, Hoy Part
ridge Ralph M. Pearson, Joseph Pen
null, Frederick Reynolds, Ernest D.
Roth, Margary Ryerson, Otto J.
Schneider. Ralph -Fletcher Seymour.
Henry B. Shope, J. Blandlng Sloan,
Senor Ismael Smith, Lee Sturges, Carl
Szckessy, Elizabeth Telling, J. Paul
Verrles, J. C. Vondrous, F. Weber,
John W. Winkler, Henry Wlnslow
and C. Jac Young. j
In regard to tho Jessop collection of
lithographs by Whistler, which were,
sold by the' Anderson Galleries last
Thursday, Joe Pennell has this to say:
"I believe that this collection of.
Whistler lithographs Is not only the
last Important ono but tho most Im-'j
portant one which has ever come up ;
at public auction. So Important Is the ,
collection that after Dr. .Icssop's death,
when I was consulted after It had been
sent to Christie's and catalogued In
1917, I recommended that It be re
moved from sale and that It should be
sent, In the hope that It might be ac
quired by some museum, to this coun
try, as tho print galleries of Europe
bought nothing during tho war. None
of them, not even the British Museum
to which Thomas Way presented his
collection and "cwllectlon" Is tho right
word contains so many fine, so many
signed proofs as this. Mr. Freer may ,
havo as many signed proofs, but 1 1
know nothing of his prints, havo never j
been allowed to see them. But as he
has given them to tho nation and built
n collnT-v In tuhlph Vnv will flrwl .1
I. J w.w ..... ..,,, 1,
place at Washington tho public
through his generosity wfll shortly i
have access to them. Tho Brooklyn !
Museum, which acquired the Canfield
collection, has tho finest acccss'blo sot
In this country, many of which wcrc
chosen for Canfield by Whistler. The '
Chicago Art Institute al.o has most
of tho prints. I
Of the portrait of Mrs. Theodore
"Atkinson by tho early American
minter. ,Toeph Blackburn, there Is
his description In the Bulletin of tho
Cleveland Museum:
In the portrait of Mr. Atkinson wo
seo depicted a Colonial leader of social
life who. If she did not havo "all the
blood of all the Howards." had Its
N'ew Kncland equivalent, since sho
was the daughter of a royal Governor
nf New Hampshire, sister of another,
and wife of tho chief Justice and
richest man of the province. Her
nose nnd exprcsion suggest that she
'elt sure of her position In society,
but It must be admitted that lir faco
Is not particularly 'patrician. Her par
ents were John Wentworth and his
wife Sarah Hunklng. nnd sho was
born In Portsmouth, July 4, 1700. Slv
carried first Pnmuel Planted, a mem
ter of an Influential family, who died
'n 1730,, and In tho following year
Hannah Plalstcd becamo the wife of
Theodore Atkln'on, fourth of the name
and a Harvard graduate, who acquired
Treat weaVh throuch fortunato In
vestments In Now Hampshire real es
tate. As an Indian fighter, secretary
of the province, councillor and Chief
Justice, he held a position scarcely In
ferior to that of the Governor, his
brother-in-law, nnd his popularity was
such that although a Tory during tho
Revolution his property was not con-'
flscnted. Mrs. Atkinson died In Torts
mouth December 12. 176D, lu-r only
on having prcdecened her by lx
weeks. It is Interentlng to note that
Blackburn also painted portraits of
her husband and son. nnd. Copley onn of
tho son's wife, nnd thut all of these 1
nortralts are now In public ownership.
The Cleveland Museum has Just ac
quired this portrait, ns wll as Black
burn's portrait of John Brown.
i -.
M. Knoedler. & Co.
556 Fifth Avenue
Exhibition of Etchings
DY
Muirhead Bone
r
C. W. KRAUSIiAAR
Art Galleries
Will open tl eir new gal
leries at 6. 0 Fifth Avenue,
New York, on Lecember
8 th,. 1919. '
With' an imrortant exhi
bition of Etchings and
Lithofirai hs by
Alphonse LEGROS
Established 1 9 8 3.
Schultheis Galleries1
425-427 Fifth Avenue at 38th St.
' Telephono Vanderbllt ::S7
AMERICAN
& FOREIGN
PAINTINGS
rewntown Giillcr'es for
Print 'g I'rint Fram'nii
: FULTON ST. jutt EAST o" Broadly
Exhibition of
Old English
Sporting and
Naval Prints
Decemler tst to the 23th
Philip Suval
678 Madison Avenue (61st Si.)
J
PAINTINGS
BY
PISSARRO
December gth to 20th
Durand-Ruel
12 East 57th Street
The Colony Shops
EXHIBITION
of an important collection
from the Thomas Skelton
Harrison Estate.
Porcelains, Miniatures,
Enamels and Furniture.
GINSBURG & LEVY
ANTIQUES
397 Madison Avenue
Above 47th Street.
1 v
D.B.Buller&Co.
DECORATIVE PAINTINGS '
Early French, Italian and
Dutch Landscapes, Marines
and Flowers. j
6ul Madison Ave. (57 St.)
CHINESE ANTIQUES
48 !"au 57th S'rect
Between Matllaon &. I'rlc Aei.
Klackner Galleries
7 t 211th Strret
,MKZZOTIXT! lt
Milner ' Skrimih're
Henderson A. L. Cox
. Appleton Walkrr
Stevenson Bird
inciiiNfis ix count m
Trowbridge Fonce
Congdon SharUnd
PAINTINGS
INNESS
WYANT, MURPm
BLAKELOCK
R. Dudensinc & Son
r
X