Evening star. [volume], February 27, 1937, Page B-3, Image 19

About Evening star. [volume] (Washington, D.C.) 1854-1972

Image provided by: Library of Congress, Washington, DC

                
“Innocenta—Maria and La Rosa of Guatemala.” a pastel by
Elisabeth Telling, on exhibition at the Corcoran Gallery of Art.
- A
By Leila Mechlin.
Exceptionally attractive is
the exhibition of portrait
drawings in pastel of Elisa
beth Telling, portraitist, eth
nographer and lecturer, now on view
In the Corcoran Gallery of Art. There
Is a saying that to man the mast in
teresting exhibit is man. and if this
Were not true why would the benches
on the Boardwalk at Atlantic City
be turned back to the ocean and
facing the grand parade? What else
Is it that gives railway stations and
hotel lobbies their great allure? For
this reason, if no other, portraits in
variably have dual interest—-as works
of art and as interpretations of per
sonalities. Miss Telling's pastel por
traits are in this respect no exception,
but not only does she show us people
of marked individuality, but from
various and to most of us remote
parts of the world. We see in this
exhibition men. women and children
from Siam. Bali and Java, overseas to
the westward, and from Guatemala
and Yucatan, across our own country
and to the south. They are in native
dress, which is invariably colorful and
out of the ordinary, but they are very
real people and sympathetically in
terpreted.
Before Miss Telling began her
travels she had made a name for her
self by her dry point etchings of fig
ures, and her skillful use of line stands
her in good stead in her portrait
drawings and at the same time lends
distinction. Her economy of line is
particularly notable: again and again
a single stroke of her charcoal or
crayon tells the whole story. And to
this significant use of line is added
the charm of color tastefully applied—
pure color and unmixed. Admittedly
she had excellent subjects, but they
were, it must be remembered, of her
own choosing. And she has pre
sented them in most instances with
inimitable skill.
Ethnologists will probably find
greatest Interest in the drawings of
heads because of their racial signifi
cance, and artistically these are no
less good; but to laymen her full
length figures will undoubtedly make
special appeal. It is not easy to draw
little figures on flat paper and not
have them look like dolls, but in most
instances Miss Telling has inbued
those she has portrayed with life.
And how engaging all these por
traits by Miss Telling are! Take for
instance the little black-haired and
brown-eyed girl from Bali. "Ni Desok
Peleting"—one of the Legong Dancers
—number 25 in the catalogue—a
fascinating little face, mobile and ex
pressive—or the old Guatemalan
woman, “Julia Amperes,” with head
and shoulders covered by a colorful
cloth or shawl, whose face is puckered
and rutted by age. but whose beadlike
eyes peer into those of the beholder
with piercing intentness. Or in the
figures, note “Thomas Mendoza” of
Guatemala, seated, and to be looked
at with pleasure, his colorful costume
adding interest in his friendly per
sonality. “Burmese Dancing Girl” is
another very successful venture, as
is the “Dancer in Serimpe Costume”
reproduced on the cover of the little
catalogue. Miss Telling's use of
color in these drawings reminds of
Whistler's somewhat similar but still
more subtle method as seen in his
pastels at the Freer Gallery of Art.
Obviously her touch is not as light
or her stroke as elusive, but her pur
pose is much the same and her
method is perfectly suited to her need.
All of the thirty-three or thirty
four drawings included in this ex
hibition are upheld to a high stand
ard. A few have been singled out for
mention merely as exemplifying cer
tain outstanding characteristics, but
each nas its own particular merit and
charm. Remark may also be made
of the excellent framing of these
drawings and their very effective
hanging on the' walls of the little
southeast gallery on the first floor,
which has never presented a more
pleasing array. This exhibition will
continue through March 14.
Marian Macintosh Memorial
Exhibition at the Arts Club.
'J'HE memorial exhibition of paint
ings by Marian Macintosh, which
opened at the Arts Club last Sunday,
provides not only material for pleas
urable inspection but thought. It
comprises 16 oil paintings, about half
of which are of subjects found in
Ireland, where the artist was born,
and the other half subjects in and
about Gloucester or on the coast of
Maine. In almost no instance are
these paintings factual. They were
painted in the artist's studio, rather
than on the spot, and represent a
composite of impressions visually ren
dered. There is about them a certain
eerie feeling peculiarly and delight
fully Irish which sets them apart.
While essentially true, it is of the
things unseen rather than seen to
which they witness. For this reason
they are at a disadvantage w'hen ex
hibited collectively—for full compre
hension and appreciation each should
be seen alone. The wise visitor will
here concentrate attention on separate
Canvases and not attempt the more
usual sweeping survey.
It should not be thought that Miss
Macintosh made up her pictures or
painted them without preliminary
Study. She was, in fact, a hard stu
dent and gave herself industriously
to learning and the mastery of her
craft. But she had a message to de
liver and it was to this end that she
strove, therefore she was not content
merely to set down what she saw.
Painting to her was primarily a me
dium of expression and whatever
study she gave to the subject was
with the object of acquiring greater
facility and thus increasing her
power. For a considerable number of
years there was prejudice against
indoor painting, and to an extent well
founded. To render correctly from
memory a visual impression is enor
mously difficult and for this reason
such renderings are frequently out of
key. artificial, if not false. But. if it
can be done, it is the more significant.
Miss Macintosh is perhaps at her
best in her paintings of Ireland, which
very graphically manifest the ro
mantic the romantic allure of the
Emerald Isle. In one large canvas
she shows in the foreground a typical
little cottage with its white walls,
dark roof, high garden wall. with,
bevor.d. green fields sloping gradually
up to the high horizon where hills
and sky meet the sea which marks the
island boundary. There is another
canvas in which ridges of pure white
marble make startling contrast with
the blue-green grass and sky. and are
offset in turn by huge patches of deep
purple blossoming heather. A third
painting in this group is a twilight
scene in the rather drear hills; night
is rapidly descending, and, scarcely
perceptible, in the foreground is a
woman riding a donkey with bags,
perhaps of fodder, swung across the
saddle.
Among the Gloucester pictures is
one of an approaching thunderstorm
seen across the inner harbor and
looking up to the town as it climbs
the hill. The effect here is dramatic
and excellent. There is a very charm
ing passage in a painting made near
Rockport in which, beyond the still
water in the foreground, is seen a
group of houses behind a scene of
trees. It is these passages which give
vitality and lasting interest to Miss
Macintosh's works.
Of the pictures for which studies
were made on the coast of Maine per
haps the most interesting is that of
guils circling over th? inshore water.
In this she did not make the too
common mistake of defining the birds
accurately, but rather has contented
herself with indicating their move
ment, the feeling of bouyancy, and
their ability to ascend. The feeling of
the sea and sky and air is very per
fectly interpreted in this painting. It
manifests, more than many, the artist’s
extraordinary power of perception.
Miss Macintosh, we are told, was a
strong character, a leader and or
ganizer, one who was "more unafraid
than courageous,” but also a dreamer
with reserve strength and inner depths.
All this finds in a measure expres
sion in her painting. That she had a
genius for friendship would seem to go
without saying. Mariam Macintosh
died at Gloucester last September after
a very brief illness. She was a
graduate of Bryn Mawr and for many
years a teacher in the Agnes Irwin
School, formerly of Philadelphia, now
of Wynnew'ood. She had always en
thusiasm for painting, but only in
later years could give herself un
restrictedly to it.
Harrison Cady's Drawings and
Etchings Have Humorous Turn.
TN QUITE a different vein but in no
wise conflicting are the etchings,
drawings and water cciors by Harrison
Cady which simultaneously are being
shown in the reception room, dining
room and hall of the Arts Club. The
majority of these arc pictures of life
in the Kentucky and Tennessee moun
tains to which Mr. Cady has given a
slightly humorous slant. Could any
thing be funnier than the etching
entitled "The Crossing at Short Toe
Creek," in which one sees against a
mountain background a family cross
ing a stream on a narrow bridge at the
bottom of the gulch—the pater
familias walking, the madam, pipe in
mouth, riding a mule with three off
spring clinging on behind and one
safely ensconced before? Mr. Cady
treats his mountain landscapes not a
little as the Japanese printmakers
treated the landscape of Japan, with
great simplicity and flatness—but in a
way perculiarly his own—and a way in
which he persists even when employing
color. When an artist has found so
congenial a theme as in this instance
the mountain regions of our Ap
palachian range and has invented so
original a way of interpretation, there
is always danger of being forced into
repetition and a formula. But these
evils Mr. Cady has happily escaped,
and his Rockport pictures are no less
pleasing than those of “Lonesome
Gap" and its environs. To those
whose memory goes back a quarter of a
century or more these drawings and
etchings by Harrison Cady recall the
stories of Charles Egbert Craddock of
the Great Smoky mot itains and their
Anglo-Saxon inhabitants—also the
folk songs preserved by these people,
collected and made available by
Howard Brockway and Loraine Wy
man. There is less "moonshine" with
fewer "feuds” in these mountains than
there was, but the mountaineer still
persists.
The glint of humor which illumines
some of Mr. Cady's mountain draw
ings comes to full flare in his etchinga
entitled, "The Bishop's Dilemma” and
"Fanchon and Doll.” The latter are
two fat “ladies” of the circus seen
seated on a bench behind the scenes,
resting and making-up. Apparently
4
WHISTLER TOUCH IN PORTRAIT EXHIBIT
Elisabeth Telling’s Work, Endowed With Life and Inspired by Contacts of a Great
Traveler, Shown at Corcoran Gallery—Memorial Exhibition at
Arts Club—Humor in Etchings.
————I———■■—————————————■———M I —i—^
“The Crossing at Short Toe Creek,” an etching by Harrison Cady, on exhibition at the Arts Club of Washington.
they are twins and take both their
flesh and vocation seriously. Without
being vulgar, it is immensely amus- i
ing. What a delightful faculty this
artist must have of finding merriment j
in the commonplace and without un
kindness! It should also be remem
bered that he has the gift of sharing,
and in a manner thoroughly sound
and artistic. Both the current ex
hibitions in the Arts Club continue
until March 12.
Numerous Sales Made
In Local Exhibition.
NUMEROUS sales were made in the
^ Society of Miniature Painters,
Sculptors and Gravers' exhibition,
which also came to conclusion in the
Corcoran Gallery of Art on the aft
ernoon of the 22d. Four of Eleanor
Parke Custis' street scenes In gouache
found purchasers, as did two of Eliza
beth Muhlhofer’s little still-life paint- i
ings. Both of the etchings shown by ,
Minnie L. Briggs were sold, as was
one, “Spanish Woman,” by C. Allen
Sherwin, and two or three in color
by Benson B. Moore. Also among these
sales was a cat—"Benn," by Margot
Broxton. None of these works was
costly, but the number of purchases
made gave encouraging evidence cf
desire for acquisition.
I
Noted Photographers to Be
Represented in Exhibition.
rJ'HE Junior League is again spon
soring an important photographic
exhibition, which will open in the
League Gallery. Twentieth street and
Massachusetts avenue. March 7, and
continue on view until the 21st. An
nouncement is made that among the
well-known exhibitors will be Alfred
Stieglitz, who came to this country at
the turn of the century and was the
prophet of the new photography. It
is this same Stieglitz who is the hus- j
band of Georgie O'Keeffe and the
friend and agent of John Marin, and
! it was in the pages of his magazine.
Camera World, that Gertrude Stein's .
writings on art had first publication. ■
i There will also be shown in this ex- i
; hibition photographs of the Civil War
period by Mathew A. Brady, who is
credited with having some 2.000 nega- !
tives of persons of contemporary fame,
many of which plates supplied the
: data for lithographic and painted por
traits.
A feature of this exhibition will be
photographs in color and their repro
ductions as appearing in some of the
best-known magazines. In this sec
tion Edward Steichen—a colleague of
Stieghtz' and scarcely less well
known—and Anton Bruehl, will be
represented.
I
Lee R. Warthen’s Painting
Voted Popular Prize.
'■ 'J'HE popular prize in the Society of
Washington Artists' Forty-sixth
Annual Exhibition, which closed last
Monday, was voted by exhibition visit- ,
ors to a painting entitled "Schoharie j
County Farm," by Lee R. Warthen of
this city. This choice again empha
sized the liking of the public for that
which is recognizably real and attrac
tive. The country in Schoharie Coun
I ty. N. Y„ is roiling and picturesque.
! The painter set it forth with great lit
| eralness. In the foreground are a
I house and barn and cattle grazing; at
the extreme right runs a curving road;
beyond rise the hills, partly wooded
A woman sits by the roadside watching
a little girl roll a hoop; a vertical ele
ment in the composition is supplied by
two tall maples in full leaf. It is
essentially a pleasing scene, but un
doubtedly a large part of the charm
of the picture is to be found in the
way it was painted. The compost- 1
tion is essentially in three dimen- ;
< sions, and the effect of air and sun- j
light is well presented. A close sec- j
ond to this work In number of votes
received was the portrait of Miss Lip
pitt by Hattie E. Burdette. Among
the works in sculpture, the "Goose
Girl." by Franc Epping. was most
popular with the public—or at least
those voting.
Exhibition for Red Cress Fund
Notable Success.
IT MAY also be noted with satisfac
tion that the exhibition and sale
held by local artists at Garfinckel's for
the Red Cross flood sufferers’ fund
was very successful, netting in less
than a week approximately $500. The
method of "silent" votes proved an en
gaging innovation, and in several cases
bids were raised by the bidders two or
three times. The generosity with
which the artists responded to the
call should always be remembered.
An Italian Artist Exhibits
At Howard University.
AN EXHIBITION of oil pair.t.ngs
* by an Italian artist. Anthony J.
Sisti. new residing in Buffalo. N. Y„
opened in the art gallery of Howard
University this week to continue to
March 13. The collection includes 30
canvases, a number of which have
been lent by private owners. A great
variety of subjects are set forth, land
scapes. figures, portraits, a life-size
nude, buildings, street scenes, still
life and flowers. Several have won
awards in Buffalo exhibitions. All
are modern in manner and to an ex
tent reminiscent of Cezanne and the
post-impressionist school. The work
is strong and fairly well ccnstructed,
the mode of expression is blunt and
a bit labored, the color rather dull
but harmonious, the observer is very
conscious of the medium employed.
If one must choose between work of
weak and artificial suavity and that
of rough inelegant strength, undoubt
edly one would take the latter, but
why force a choice of two evils? Why
not hold to that which is really fine?
Cezanne. Van Gogh and Gauguin all
had genius which today overshadows
their technical shortcomings, but so
often their followers lose sight of this
and exalt their faults.
Anthony Sisti is a pupil of Felice
Carena of Florence and a member
of the Royal Academy of Italy: he
calls himself a modernist and has
experimented with serious intent
alcng many lines. He is not one who
has cast away tradition or discounts
the value of fundamentals. He has
had varied experience. He was at
one time a prize fighter, he has
traveled extensively in Asia and
Africa. He takes his art very seriously.
For this reason it merits sericus con
sideration, which it also rewards.
Among the works exhibited are por
traits of Mr. and Mrs. Julius F Stone.
' jr, of this city.
Exhibitions of Note
Opening Next V/eek.
T^UMEROtJS exhibitions are open
ing the first of next week. At
the Smithsonian Institution in the
room given over to the graphic arts,
an exhibition of etchings by Charles
B. Keeler will replace that of etch
ings and lithographs by John E
Costigan. which has. during February,
attracted so much favorable atten
tion. Mr. Keeler was born in Cedar
Rapids, Iowa, and studied at the Art
Institute of Chicago, but now hails
from Los Angeles Count}'. Calif. He
is a member of the leading societies
of etchers and is represented in
various notable collections. This is
his first one-man exhibition here.
On Monday for two weeks a col
lection of drawings and water colors,
by Louis M. Eilshemius, will be
exhibited in the print rooms of the
Phillips Memorial Gallery. This artist
has been much in the public eye in
recent years and many of his paint
Dish Garden Making Offers Pleasure for Household
_ .
Providing Diversions for
Winter Months When
Nature Is Asleep.
By Molly De Ford
El wore.
UR American dish-garden Is a
garden in miniature. It may
be constructed by one’s self,
following one's own concep
tion of a chosen idea or possibly in
spired by a fancy of the moment. This
type of home decoration affords end
less pleasure, especially during those
long Winter months while the real
garden is sleeping. The joy of such
creation can be attained by any one
who has the desire to transport choice
bits from the outdoors to a sunny
window inside.
The composition may be of the
simplest at first, merely a few speci
mens planted in a small dish or bowl,
and so arranged as to form pleasing
contrasts in depths of color, as well
as in the varying heights of the plants.
Even though the living material be
entirely of evergreens, it is surprising
what variations may be had, running
the gamut from the lightest yellow
green to the deeper shades bordering
on reddish blacks.
A garden, however, with a judicious
admixture of perennials takes on a
deeper and livelier interest. Little
evergreen trees sti - form the body of
the structure, giving an impression
and an assurance of permanency, while
the lighter material affords a grace
and rhythm not to be attained other
wise. Vines may be used to advantage
also; English ivy, if used sparingly, as
a vine or upright as a “tree." Ever
green vinca is good, and common
honeysuckle runs it a close second.
Low sedums are indispensable for
small clumps dotting the "landscape"
as miniature shrubs, and pliable
masses are ideal as ground covers. One
may thus cfeate an arrangement sug
gestive of a corner in the perennial or
wild flower border, or a scene carried
in memory from elsewhere.
'T'HE principles of composition fol
* low those of .lower arrangement,
heavier material forming the ground
work, and airy fronds reaching into
higher levels. The same principles
hold good when, with the approach
of Spring, a garden may feature the
violet* and many other small per
ennial*, whose flower* give a touch of
real color. They bloom for several
weeks, after which their foliage adds
a note of distinction to an otherwise
regulation Winter garden.
The field is so broad and the pos
sibilities are so vast that one can
scarcely fail entirely in the undertak
ing. Even a hit-or-miss gardener may
follow a sudden urge, with nothing
planned in advance, and attain a most
pleasing harmony; again, another may
evolve a very definite effect which he
or she desires, employing some theme
chosen beforehand, and work it out
to a very successful conclusion. With
this latter plan there is greater crea
tive ability manifest, and deeper sig
nificance, since one may select some
thing jolly or gay, serious and digni
fled, or just plain pretty and colorful.
To this end, we suggest a "Jolly
Dish-Garden." one which is not sim
plest of construction nor yet the most
elaborate, for a subject of study.
Since we are naming it in advance,
well call it the "Jolly Fisherman"—
a miniature to recall Summer days,
when our thoughts are inclined to
wander to that alluring spot down
under the old sycamore. We are for
tunate enough to find in the shops a
little American figure of 2-inch height,
in sitting posture, hand resting on
knee and holding tight in his grasp
a fishing rod with line and sinker.
Since he is to look very comfortable
and jolly, we visualize him on a "dead
log,” fashioned from a weathered
Bulletin of Exhibitions
CORCORAN GALLERY OB' ART—Permanent collection. American
paintings and sculpture, Barye bronzes. Clark collection—European
patmings, rugs, tapestries, laces, etc. Drawings by Sargent. Special
exhibition of portrait drawings in pastel by Elisabeth Telling.
NATIONAL GALLERY OP ART, United States National Museum—Per
manent collections—Evans. G,ellatly, Ralph Cross Johnson. Harriet
Lane Johnson and Herbert Ward African sculptures. Stained glass
windows by John La B'arge and William Willet. Paintings and etch
ings by Thomas Moran.
SMITHSONIAN INSTITUTION, DIVISION OF GRAPHIC ARTS—Ex
hibition of etchings by Charles B. Keeler.
NATIONAL MUSEUM, ARTS AND INDUSTRIES BUILDING—Exhibi
tion of photographs of flowers and other objects by Lilian A. Guernsey.
FREER GALLERY OF ART—Permanent collection, paintings, drawings
and etchings by Whistler. The peacock room, Oriental paintings,
bronzes, pottery, miniatures, etc.
PHILLIPS MEMORIAL GALLERY—Permanent collection, paintings by
old and modern masters; also works in sculpture. Recent acquisition,
"St. Peter.” by Goya. Special exhibition, print rooms—DraVmgs and
water colors by L. M. Eilshemius.
STUDIO HOUSE—Exhibition of paintings made under the W. P. A. art
project by artists in the Virgin Islands, opening March 4.
TEXTILE MUSEUM OF THE DISTRICT OF COLUMBIA—Permanent
collection, rugs, tapestries and other textiles of the Near and Far East.
Open Mondays, Wednesdays and Fridays, 2 to 5 p.m. Admission by
card, obtainable at office George Hewitt Myers. 730 Fifteenth street.
ARTS CLUB OF WASHINGTON—Memorial exhibition of paintings by
Marian T. Macintosh and exhibition of etchings, drawings and water
colors by Harrison Cady.
LIBRARY OF CONGRESS, DIVISION OF FINE ARTS—Exhibition of
etchings and other prints by contemporary printmakers; Pennell litho
graphs; drawings by American illustrators.
PUBLIC LIBRARY. MAIN BUILDING—Exhibition of prints and draw
ings by Richard Lahey. Northeast Branch—Oil paintings by Washing
ton artists lately shown In the Corcoran Gallery of Art. Takoma Park
Branch—Paintings by members of the Landscape Club.
WOMEN S CITY CLUB—Water colors by Susan B. Chase.
DUMBARTON HOUSE—Historical art exhibit, furniture, articles of util
ity and pictures.
ART GALLERY. HOWARD UNIVERSITY—Exhibition oil paintings by
Anthony J. Slstl.
/
Floral Arrangements Give
Form to Decorative
Devices in Home.
branch of locust or such. We note
the lichens on it, its curved shape
and natural brandies. The fisher
man gloats over his "catch," dangling
over the Improvised river beneath
him, while dog Bingo looks on con
tentedly.
pLANTS have been so chosen that
with a bit of imagination they
may simulate waterside growth of wil
low, birch or sycamore. American
boxwood, with its small leaves and
spreading tendencies: clumps of
Queen Anne's lace and other twining
perennials; sedums to overhang the
stream, and ivy "grapevines" swing
ing overhead—all giving an Impres
sion of seclusion in deep woods.
This is a versatile number: If the
catch lies across boy's lap, our fisher
man may flaunt to the world, "Believe
It or Not": if in the water it looks
like the "One That Got Away,” and
other jolly titles suggest themselves
to the interested gardener.
There is a wealth of American
plants which thrive in these minia
ture gardens, if planted with reason
able regard for their simple needs
and cared for as to moisture, warmth
and light.
It is to be noted that use is made
of many of our commonest wayside
wildings. Little cedar seedlings are
exceedingly valuable; they lend them
selves to varied situations, thrive in
any healthy environment and last for
several seasons. They surpass all
others In responding to the clipping
of their tips, by coming out in a few
weeks with fresh curly shoots that
are a delight to the eye. Hardy ferns
are good, as are feverfew and many
other fragrant herbs.
/^OLORFUL "mountains” are made
^ use of in the serious subjects.
They are in the form of tall struc
tures that .pring from a lot y but
honest 'Origin. The garden, "Green
Pastures,” features this element and
a stream as well. Then there are
"Rock of Ages" and "The Spirit of
Motherhood." "Altar-Stairs" is sug
gested by Tennyson’s lines:
“The great world's altar-stairs.
That slope through darkness up to
God." 1
L
“Julia Amperes of Guatemalaa pastel by Elisabeth Tell
ing, on exhibition at the Corcoran Gallery of Art.
ings have been acquired by art
museums. The Phillips Memorial Gal
lery owns quite a few and Mr. Phillips
was among the first to recognize
Eilshemius’ unique ability.
A Dutch artist. William dr Groot.
who has lately taken up residence in
Washington, will open an exhibition
of his work in his studio. 2162 Florida
avenue, tomorrow afternoon. Mr. de
Groot studied in Amsterdam and is a
representative of the new school of
painting which has arisen in the
shadow of one of the greatest schools
that the world has known. He is a
traditionalist, but also an innovator
and has specialized in mural painting,
for the most part for churches. For
the past few years he has been living
and working in San Francisco.
Fantastic Art
On Museum Circuits.
TN THE Baltimore Museum of Art
a comprehensive exhibition of
Cubism and Abstract Art is to be seen
until March 17, while in the Pennsyl
vania Museum. Philadelphia. "Sur
realism. the Art of the Fantastic and
the Marvelous,” since January 30. has
held full sway. Both exhibitions were
assembled and are circulated by the
Museum of Modern Art. New York,
where, with additional material, they
were originally shown, the former in
the Spring and the latter in the Fail
of the past year. New York critics
declared the first of these exhibitions
bewildering in the extreme, and of the
last, almost with one accord, they
had nothing good to say—in it the
gamut of absurdity seemed to have
I
been run. The circulation of these
exhibitions should do much to burst
the bubble and prove its instability.
The visual arts like music, poetry
and the drama have a field all their
own, beyond the boundary of which,
however, they cease to signify if not
to exist. A work of art which requires
elaborate explanation fails to fulfill
its legitimate function and is there
fore beyond the pale. The works of the
great masters which have endured
the test of time speak to us today as
understandinglv and unequivocably as
when they v.ere first produced. It
will always be so.
Striking Portrait
Of Justice Brandeis.
A PORTRAIT of Mr Justice Lcuia
^ D Brandeis of the United States
Supreme Court by Eben F. Comins
of this city has been placed tempo
rarily. as a loan. on view in the Cor
coran Gallery cf Art. It is a three
quarter length and shows the eminent
jurist seated in a chair turned slightly
to the left. His hands, which are ex
tremely characteristic, are crossed in
his lap; the face is toward the observ
er and very expressive. Strangely
enough, there is a look of Lincoln
in this strong face with its marked
feature* and signs of deep feeling and
thought, and yet none could mistake
the likeness to the sitter. It is un
derstood that Justice Brandeis' asso
ciates have approved this portrait and
that one of the great law schools
of the country is negotiating for its
purchase, in which case it may event
ually be hung in the Supreme Court
Building.
ANIMAL KILLERS
(Continued from Page B-l.)
bath varmint.'* and were accredited
with having got away on the Sabbath.
On one occasion, he followed a preda
tory bear through three States before
finally running it to earth. On an
other, his hounds so enraged a moun
tain lion that the lion attacked Lilly,
who was unarmed except for a 4-inch
pocket knife, but who. after a des
perate encounter succeeded in killing
the animal with this slight weapon.
Lilly knew the range country thor
oughly. He was familiar with the
routes, the tracks and haunts and
habits of the lions. He knew every
cave and cove and canyon, and was
responsible for a goodly portion of the
more than $6,000,000 saving annually
that the hunters of Uncle Sam make
possible.
VfOUNTAIN lions. Mr. Young points
1 out, will travel extraordinary dis
tances for food and find their prey
near the rougher and more inacces
sible canyons. They have been known
to travel 25 miles or more in a single
night, apparently without resting for
any appreciable time, and because of
their remarkable endurance, hunting
them takes stamina and strength.
Biological Survey hunters on the fresh
track of a mountain lion have trailed
the animal for 10 consecutive hours or
longer before treeing it. Like the bob
cat. the mountain lion relies upon its
sense of smell and sight in much of
its foraging. Its sense of smell is less
keen, however, that that of the wolf
or coyote.
It can see its prey for a long dis
tance, but does much of its cautious,
silent stalking by sense of smell alone,
taking advantage of every cover until
within striking distance of its victim
In making the kill, the animal brings
its victim to the ground with a stun
ning impact of its own wreight and
generally attacks at the throat and
breast. Sometimes the lion will bury
uneaten portions of a carcass and ^
return later. Young once trapped six '
lions of various sizes near one cow
carcass.
Trained hounds are used in control
work, and Kentucky fox hounds and
a cross between a Walker hound and
the bloodhound have been found most
satisfacory.' The hunter. Young states,
must keep up with the pack, for a
mountain lion that fights at bay in
stead of treeing may kill all the dogs.
It uses its teeth and claws in fighting,
and its powerful neck and shoulder
muscles.
The bobcat preys upon antelope,
deer and other game animals, espe
cially the fawns, and on wild turkeys,
quail and other ground-nesting birds.
It has been known, as well, to be ex
ceedingly destructive to domestic live
stock, especially to sheep during the
lambing season, to pigs, goats, calves
and poultry. In parts of Arkansas in
recent years the chief of the predatory
animal control division states the
depredations of bobcats have made
hog-raising on an extensive scale im
practicable in some localities. Also
such depredations arc particularly se
vere when lambing is conducted on the
’ open range and the lambing grounds
j are in close proximity to the rough,
broken and rocky canyons preferred
by the bobcat. Because of the protec
tion such country affords against
1 storms, it is often chosen by sheep
men for lambing grounds.
During the lambing season the bob
cat enters the flock under cover of
darkness and carries on Its depreda-1
tions quietly and with little commo- i
tlon. Biting the lamb with a charac
A
teristie bite on the bark of the neck
or head, the killer then pulls down its
prey for eating. If its lust for killing
is not satisfied the bobcat often con
tinues its work quietly until a large
number of lambs has been destroyed.
In hunting the bobcat, as in hunting
certain other predators of the feline
species, oil of catnip is often used as
a lure, to attract it to a certain lo
cality.
QFFICIALS of the Bureau of Bio
logical Survey in the Department
of Agriculture in Washington, of
which Ira N. Gabrielson is chief, re
port that predatory animals are be
coming increasingly abundant in
North Dakota and Missouri, and
urgent requests have been received by
; the bureau from these quarters for as
sistance in control. In McKenzie
County, in North Dakota, losses from
their depredations were as high as 65
per cent of the lamb crop, and severe
losses were also sustained among
flocks of turkeys and chickens and
among calves.
Profits in the live stock industry, as
well as a desired increase among va
rious species of game animals and
ground-nesting birds, have been seri
ously affected by a continuing increase
j of predators, especially coyotes, over
I wide areas in the Western part of the
United States. Federal and co-op
erative hunters report that in the last
six years and two months in Webb
County. Tex.. 23.235 predatory ani
mals, consisting of coyotes, bobcats,
mountain lions and ocelots, were
taken. This means that one predator
had been taken over the whole pe
riod on each 88 67 acres of Webb
County, which is 2.060,160 acres in
extent. A decrease in the catch of the
predators in this county has been evi
dent, however, each year, and at the
same time the number of game ani
mals. particularly deer, has Increased
materially.
"In Western Colorado, six years ago."
relates Gabrielson. "a take of 100
predators was considered a good year s
wrork for an individual-man. During
the past year one man working in this
area took a total of 509 predators, con
; sisting of 388 coyotes, 119 bobcats and
t 2 bears. These large individual takes
show that predators, especially coyotes,
are more abundant than they were six
years ago on the same areas."
The need for and interest in preda
tory animal control work was demon
strated in Texas during the past year
when “wolf clubs." organized for rais
ing funds for control work; county
commissioners' courts, local game com
missions and individuals, provided
$46,990.83 in funds for prosecution cf
control in their respective communities.
When predatory control work was in
augurated in Texas in 1915. it was not
unusual, states the director, for men
engaged In sheep and goat raising in
Tom Green. Crockett, Schleicher. Sut
ton and neighboring counties to sus
tain annual losses of 10 per cent or
more from coyotes. But losses in thj
section during the past year, due to
control work, were not more than a
fraction of 1 per cent.
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