Evening star. [volume], April 24, 1937, Page B-3, Image 19

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

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SEASON OF FLOWERING ARTS
Exhibitions Bring Delight to Admirers of Creative Work in Capital.
Paintings and Sculpture Owned Here—Whimsical
Subjects at Phillips Gallery.
, . ‘‘Luxembourg Gardens ” by William Glackens. jr., purchased by the Corcoran Gallery of
Art for their permanent collection, from the Fifteenth Biennial Exhibition of Contemporary
American Paintings. _ -Star Staff Photo.
By Leila Mechlin.
HE multiplicity ‘of exhibitions
opening at this time would
suggest a timely flowering of
art in keeping with the season
of blossoming trees and shrubs. But
the fact is that Nature herself is a
formidable rival in this field, when in
fresh Spring dress, and lays the
artists under special obligation as to
verity. With eyes filled with the
brightness of Spring sunshine and the
beauty of Spring leaf and flower, works
of art on exhibition must be very
good and more than clever to en
gage and hold attention and admira
tion. Measured by even this exacting
standard, however, those who have
made the rounds of local exhibitions
this week have found in them much
to admire and enjoy.
The exhibition of paintings and
sculpture owned in Washington, which
opened in the Phillips Memorial Gal
lery on the 15th, and will continue
until the 30th, 1s one in which every
lover of art must find untold delight.
It contains not only the works of
great masters, but choice examples.
Furthermore, the collection as a whole
covers a long period and comprises
works of extremely varied character.
If nothing else, it should teach the
catholicity of art and the absurdity
of insistence upon any fixed way of
expression. There are too evidently
many ways, if but one end. that of
truth and sincerity. And in these
works beauty is ever present, intrinsic
not merely in subject, but rather in
presentation. In almost even' in
stance these pictures are beautifully
painted, though very differently.
What could be more exquisite than
the “Rest During Flight Into Egypt”
by Gerard David, from the Mellon
collection, a smaE panel painted
over 400 years ago, but 'with colors
undimmed and workmanship un
rivaled. The Madonna with the
Christ Child in her lap is in blue
dress and cloak of heavenly hue, with
Just a touch of red at neck and hem
of garment. There is a lovely land
scape setting and the Baby's interest
1* engaged by a bunch of white grapes
held in His little hand. But like
wise how enchanting is the little
painting, oil on wood, by Fragonard,
of “The Visitation of the Virgin,”
lent by the Hon. Irwin Laughlin, much
more freely rendered, but with equally
evident reverence and joy. This rep
resents the meeting, recorded in the
scriptures, between Mary and Eliza
beth; and a band of Ettle cherubs
carrying the latter’s chant of praise
to Heaven. It is all done with a light
touch but with insistent simplicity
and charm.
nrURNING to the portraits—what a
• revelation one finds here in such
outstanding ’ examples as, to name
only a few', the “Portrait of Woman
Holding Book,” by the Maitre de
Flemalle—fifteenth century Flemish
artist—from the Dumbarton Oaks
(Bliss) collection, rendered with such
magnificent exactitude, breadth and
simplicity; the two little Ambrose
Bensons of a man of the early six
teenth century and his wife—lent by
Mr. Adolph Caspar Miller—rendered
with much the same deliberate cor
rectness, but also vital. In striking
contrast are the “Head of Christ,"
by an unknown artist of the Venetian
school, owned by Mrs. Marshall Lang
horne, and the portrait of the Mar
quise D'Andelot by Rembrandt, lent
by Mr. and Mrs. F. L. Belin, both of
which glow wdth light and are rich
and toneful to a remarkable degree.
me one nas more man a suggestion or
Titian, while the other witnesses to
the power of the greatest artistic
genius, perhaps, of all time.
In the Rembrandt portrait the
hands fire rendered, with especial
significance, as characterful, if not
more so than the face. Then, follow
ing the changes that time brought, are
a boldly painted portrait of a man
In uniform by Vincente Lopez, lent
by Mrs. Keith Merrill, and portraits
of the eighteenth century British
school by Reynolds and by Raeburn—
one owned by Ambassador Houghton
and the other by Mrs. Merrill-reach
fully characteristic, but painted, per
haps, a little more than the earlier
works to gratify vanity—not that of
the Individual, but the period. And
with these great works one finds
a head of a little child dressed in
blue, painted by none other than G.
P. A. Healy, an American artist,
whose active years were those of the
mid-nineteenth century, never great,
but, as in this instance, at times very
good. The lender of this interesting
canvas is Mrs. Frank Bennett. One
eannot but conjecture how astounded
the painter himself would have been
to find himself in such distinguished
company.
Another work by an early American,
calculated to arouse pride, is that of
"Fruit in a Pressed Glass Bowl,” by
Ruben Peale, lent by Mrs. McCook
Knox, a realistic presentation, but
very well rendered and extremely
colorful—a thoroughly painterlike per
formance, direct but sophistocated,
with an elegance all its own.
With extreme hospitality and mod
esty, paintings belonging to the Phil
lips Memorial Gallery have not been
Included in this special showing, and
^both the large gallery on the secon#
/ ... 4*
floor and the smaller one at the
foot of the short flight of stairs lead
ing thereto are given oyer exclusively
to the works loaned. All of the paint
ings to which reference has just been
made are td be seen in the larger
gallery, while in the smaller are found
works by painters of the latter-day
French school—or produced under its
influence. Here one finds a famous
“Portrait of a Lady,” seen against a
background of flowers, by Mary Cas
satt, American by birth but long
resident in Parts and an exponent of
the impressionist school; “Portrait of
| a Young Girl,” by Berthe Morisot, the
; one woman associated on even footing
with the great impressionists, and
“Portrait of a Young Woman,” pastel,
by Renoir, all three lent by Mrs. Mar
shall Field; as well as two Degas—
one a famous canvas, “Repetition
de Chant,” the other a “Portrait of
Julie Bellelli”—and a very lovely ex
ample of the work of Alfred Steven—
Belgian—of “Mother and Child,” all
three of which are drawn from the
Dumbarton Oaks collection. To segre
gate this group was an excellent idea,
as it is essentially modem and
peculiarly individualistic.
On the opposite side of the hall
a single little gallery is given over at
present to the eight or more small
paintings by Daumier of the Phillips
collection, which, interesting enough,
seem to furnish a link between the
old and the new. Any one of these
could hang, as does the Daumier,
“Street Musicians,” from the Dum
barton Oaks collection, in' the main
gallery with Rembrandt and Greco,
Cranach and Memling, or in the!
smaller gallery with Degas and Seurat.
Very much alive, they have in every
instance the “intrinsic beauty of paint
on canvas.”
Whimsical Drawings of Insets,
Birds, Beasts, by Pierre Bonnard.
QFFSETT1NG the grave dignity and
seriousness of the Loan Exhibi
tion is a collection of drawings by
Pierre Bonnard now on view in the
print rooms in the basement of the
Phillips Memorial Gallery. These,
mostly in pen and ink, were made as
illustrations for "Histories Nat .ralles,”
by Jules Renard, and are of bird,
beasts, insects and fishes. There is a
lightness and gayety about them that
is refreshing They are essentially
for children, but make appeal no less
to those of mature years. To an ex
tent the artist uses a juvenile idiom
not with pretence but naturalism,
adapting himself and his work to the
child mind. These are such drawings
as a child might well demand of an
artist—“Draw me a cow—draw me a
goat—draw me a deer”—ad infinitum.
Not only has M. Bonnard drawn all
these, but pigs, sheep, ducks, swallows,
owls, fish, bees and various insects.
A delightful drawing 1s of ants in
groups, carrying on their endless in
dustry,
Bonnard was bom In 1867 and is
essentially of the new school, linking
in his work the Impressionists with
the Expressionists. Writing of his
paintings, of which the Phillips Me
morial Gallery owns several excellent
examples, Mr. Phillips has said that
he is "a whimsical artist of unmistak
able genius,” and refers to his ‘‘capri
cious joy at seeing life for himself” as
well as to his childlike mind which
"frolics in the eternal Springtime of
a piquant fancy,” thus creating for
us "glimpses of fairyland.” Analogy
has been traced between his paintings
and the musical compositions of De
bussy, but this is a matter of color
rather than line. In a world racked
by war and tom by many terrors, the
mere fact that one artist at least can
find delight in making merry drawings
for children, such as these by Bonnard
now on view, should be matter for re
assurance and rejoicing.
“Twenty Women Painters”
Make Excellent Showing.
T™ “Twenty Women Painters”—
an organization neither formal
nor fixed—has opened, this week, an
exhibition of the works of members
and invited (feminine) guests in the
little gallery at Jelleff's. It is a color
ful and excellent show. There are
works in oils and in water color, and
they hang together admirably. In the
matter of subjects, there is nice va
riety-figures, landscapes, street
scenes, interiors and still life, Gladys
Nelson Smith shows a clever and
semi-humorous composition, entitled
“The Snob," which evidences a pic
torial sense and also a command of
her medium. Gertrude G. Brown is
likewise seen to have essayed a figure
composition, “The Penny Jig,” a lively
scene, young Negroes dancing, rather
sketchily indicated, but out of the
ordinary. Marguerite Munn, who is
exhibiting at this same time at the
Arts Club, is twice represented, and
well, by a study of “Gladioli” and a
landscape, the latter an excellent
transcription of a ’mountain, seen
across an arid plain.
Very appropriate to the time is a
painting of "Cherry Blossoms"—trees
in Potomac Park—by Ethel Foster,
lovely in color and evanescent in
effect and very sensitively rendered.
Paula MacWhite is admirably rep
resented by a small painting of the
“Old Mission Church, Taos,” which
,is simple in treatment^ direct
i toneful—outstanding. Catherine C.
! Critcher, who has, as every one
knows, won enviable reputation by her
paintings of Indians, exhibits here a
group of two, behind a table, on which
stands a bowl of bright colored zin
nias, quite in her usual manner and
style.
Mathilde Mueden Leisenring makes
valuable contribution to the collective
showing through two still life
studies—one of "Things Prom Nan
tucket,” a group of objects of nauti
cal origin on a very plain table, and
the other red zinnias on a red table—
both of which are gravely but very
knowingly painted. Whatever Mrs.
Leisenring paints invariably shows
knowledge and sensitive emotional
quality—charm.
Other still-life paintings of notable
merit are "White Roses,” a water
color by Clara R. Saunders, very
subtle in treatment; "Cyclamen,” by
Elizabeth E. Graves, which is delight
fully colorful and well composed, and
"Winter Bouquet,” boldly rendered
and very impressive in color as well
as treatment, by Lona Miller Kep
linger.
Among the water colors of special
note are three foreign scenes—one
in Tripoli, another in Rhodes, and a
third in Morocco—by Eleanore Parke
Custis, done in her skillful and ac
customed way in gouache; an in
terior, "The Studio,” and two street
scenes, one in Taxco, Mexico, and
the other in Sarajevo, by Susan B.
Chase, the accomplished secretary of
the Water Color Club; a marine,
“Gray Day, Bass Rocks,” by Lucia
B. Hollerith, painted with breadth
ana excellent ieeung; two Dy jviar
garete Lent Mulford—a "Light House”
standing stark against the sky, the
other, "Christmas Snow In Washing
ton,” a more elaborate composition
presented no less boldly, and "The
Edge of the Wood,” by Ruth Osgood,
which is pleasing in color and good
in construction.
Others making interesting contri
butions are Helen F. Collison. Grace
M. Ruckman, Cathrine P. Melton,
Blanche H. Stanley. Edith Hoyt, Mar^
K. Porter and Gladys Milligan. This
exhibition continues to the end of
the coming week.
Floieers and Figures
Constitute April Exhibition.
TN THE Women's City Club, Jackson
place, is now to be seen a collection
of paintings by Hattie E. Burdette of
this city. Miss Burdette is best known
as a portrait and figure painter, but
she is exceptionally skillful also in
the painting of still life and flowers,
by which in this exhibition she is
largely represented. These have charm
of color, are decorative and very dis
tinguished. One of the canvases is
of a great bunch of peonies in a jar,
very double and handsome; another,
no less pleasing is of single peonies
in exquisite arrangement. There is
something splendid in the arrogance
of these flowers, and yet with all their
color they are no more engaging than
her study of white iris or of a few
white roses in a cream-colored vase.
These last are toneful and in rather a
low key, but quite opposite are studies
of “Garden Flowers” and "Old Glass,”
high-keyed and rather impressionisti
cally rendered.
Among the portraits shown are the
three-quarter length of Miss Helen
Lippitt in ivory satin gown, which
found much favor when shown in the
Society of Washington Artists’ most
recent exhibition, and a head in profile
of "Miss Dudley Gregory.” "The
White Hat” and "A Wanderer” are
studies made in the studio from
chance models and revealing as well
as strong. In addition there is a
landscape painted some Summers ago
at Sorrento, Me., showing one of the
mountains of Mount Desert in the
distance; a "Decorative Panel” with
figures, a figure of a young woman
examining "Old Prints,” and several
intimate little garden pictures with
Interesting vistas.
The more than 20 paintings in
this exhibition are distributed through
three rooms and take their places on
the walls with appropriateness, as
well as effectively. No one could fail
to find the collection pleasing, and
fortunately the Women's City Club is,
under such circumstances, hospitable
in admitting visitors.
Paintings by Glackens Purchased
By Corcoran Gallery of Art.
'J'HE Corcoran Gallery of Art an
nounced this week the purchase
of a painting by William J. Glackens
entitled “The Luxembourg Gardens,”
included in the Fifteenth Biennial
Exhibition of Contemporary American
Paintings for its permanent collection.
It is a small canvas, picturing adults
and children in a section of a green
park which might be in Paris—and
doubtless was—or in tfew York or
Washington. It is one of three paint
ings by which Mr. Glackens, chairman
of the jury of admissions and awards
for this biennial exhibition, was repre
sented therein. It is a comparatively
early work, but considered representa
tive.
Glackens was born in Philadelphia
in 1870. After studying at the Penn
sylvania Academy of Fine Arts he
went abroad, where he worked under
well-known master* of the day. In
1806 he was made an associate mem
.V
“Miss Dudley Gregory,” by Hattie E. Burdette, on exhibition
at the Women’s City Club. —Star Staff Photo.
ber of the National Academy of
Design and in 1933 elected to full
membership. Meanwhile Mr. Glackens
had associated himself with those of
the so-called “left wing,” the “Society
of Independent Artists,” and other
rather radical groups, but his work
has never been extreme, and more
than once it has been honored by
awards voted by his conservative col
leagues. Among these are the Temple
Gold Medal, the Second Carnegie
Prize and the Beck Gold Medal. Ex
amples of Mr. Glackens’ paintings are
to be found in the Metropolitan
Museum, New York; Chicago Art
Institute, Detroit Institute of Art,
Whitney Museum of American Art
and the Phillips Memorial Gallery of
this city.
Paintings Sold From the
Corcoran Biennial Exhibition.
J^IVE sales have been made of paint
ings in the biennial exhibition, in
addition to the one previously men
be awarded. Each visitor will be given
a ballot to fill out and cast for the
painting which he, or she, considers
most meritorious. Thus the public
may confirm or reverse the judgment
of the professional jury. But this
should be kept in mind—whereas in
this case all works on view are eligible,
many, for one reason or another, were
not competing for the jury awards.
The "popular award." the public co
operating, should register the attitude
of laymen to the art of the painter,
and has, therefore, double significance.
Without a sympathetic and under
standing public, no art can flourish
long. But sympathy and understand
ing are not always synonymous with
I connoisseurship, and that is where
the public and the artists often part
company.
An Exhibition of Book Binding
Of Notable Interest.
fyjiss MARIAN LANE, accom
plished bookbinder and illumlna
“Cherry Blossoms" by Ethel Foster, included in the exhibi
tion of “Twenty Woman Painters," at Jelieff's Art Gallery.
___—Star Staff Photo.
tioned to the gallery itself. These in
clude the Mattson "Wings of the
Morning,” acquired by the Metropoli
tan Museum of Art: "Death on the
Ridge Road,” by Grant Wood, so
urgently desired by a West Coast pur
chaser that it was removed and de
livered: “Western Landscape,” by
Trentham, and “One O’clock Leave,”
by Krawieo—no one of which can be
said to be a really notable canvas.
This is in striking contrast to the
sales that were made from, the bien
nials 10 years ago, which were out
standing. Has taste changed, are the
painters not meeting the require
ments, or are the potentialities of art
patronage vanishing?
Popular Prize to Be Voted For
By Public Next Week.
J^URiNG the coming week visitors
to the biennial exhibition of
contemporary American paintings in
the Corcoran Gallery of Art will be
given opportunity to vote for the
painting therein to which the "popu
lar prize,” offered by the gallery, shall
tor. Issued Invitations the first of
this week to an exhibition of her
pupils’ work in bookbinding, begin
ning Thursday and concluding today,
at her studio, 1920 S street northwest.
Miss Lane has the gift of imparting
knowledge and the patience which is
requisite to good teaching. Her pupils,
one and all, make excellent "report,’'
showing work which upholds high
standards of craftsmanship. Such
crafts should be generously supported,
for they may not develop taste but
encourage submission to discipline
without which no art can be brought
to perfection. Each of the three days
of this exhibition a demonstration
of bookbinding has been given at half
after 3 o'clock.
The Corcoran School Sets
Forth a Jolly Fake Show.
JN CONNECTION with the biennial
exhibition mention should be made
of the rather Jolly exhibition of
"Fakes” which the students of the
Corcoran School have put on at this
Bulletin of Exhibitions
CORCORAN GALLERY OF ART—Fifteenth biennial exhibition of
contemporary American oil paintings.
NATIONAL GALLERY OF ART, United States National Museum—
Permanent collections—Evans, Gellatly. Ralph Cross, Johnson, Harriet
Lane Johnson and Herbert Ward African sculptures. Stained glass
windows by John La Farge and William Willet, paintings and etchings
by Thomas Moran,” Exhibition of paintings, sculpture and other
works of art by Washington artists, sponsored by art department,
District of Columbia Women’s Clut*.
SMITHSONIAN INSTITUTION, DIVISION OF GRAPHIC ARTS—
Exhibition of etchings by Frederick K. Detweiler.
NATIONAL .MUSEUM, ARTS AND INDUSTRIES BUILDING—
Exhibition of pictorial photographs by Eleanor Parke Custis.
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 modem masters; also works in sculpture. Loan exhibition
of important paintings and sculpture owned in Washington—-exhibi
tion drawings by Pierre Bonnard.
STUDIO HOUSE—Exhibition of prints and drawings by Mateo Hernan
dez, opening April 29.
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. Admis
sion by card, obtainable at office of George Hewitt Myers, 730 Fifteenth
street.
ARTS CLUB OP WASHINGTON—Exhibition of paintings and block
prints by Marguerite C. Munn and paintings and etchings by Elisa
beth Searcy.
LIBRARY OP CONGRESS, DIVISION OP FINE ARTS—Exhibition of
etchings and other prints by contemporary printmakers: Pennell
lithographs; drawings by American illustrators. Special exhibition
of illustrations by Frederic Dorr Steele.
PUBLIC LIBRARY, MAIN BUILDING—Exhibition of works by pupils
of Richard Lahey; Mount Pleasant Branch, paintings by Mrs. Levine
and Janice Holland.
WOMEN'S CITY CLUB—Paintings by Hattie E. Burdette.
DUMBARTON HOUSE—Historical art exhibit, furniture, articles of
utility and pictures.
INTIMATE BOOKSHOP, LITTLE GALLERY—Exhibition of water
colors by Mitchell Jamieson of Virgin Islands.
GALLERY OF MODERN MASTERS, 1367 Connecticut avenue—Water
colors of New England and the West by Howard Giles, opening
April 26.
HOWARD UNIVERSITY GALLERY OP ART—Exhibition of water
colors by Oscar Julius.
ART GALLERY, JELLEPP’S—Annual exhibition of Twenty Women
Painters of Washington.
"The Snob,” by Gladys Nelson Smith, included in the exhibition of “Twenty Women Paint
ers,” at Jelleff’s Art Gallery. —Star Staff Photo.
time. The walls of the large room I
to the right of the New York avenue
entrance are covered by paintings by
the “youngsters” “taking off" the
works of their “grave and reverend
seniors” in the great gallery show.
And how sharp they are in discover
ing vulnerability, and with what skill j
they succeed, now and then, in “hit- |
ting the nail on the head.” And “no
disrespect meant” or “offense taken."
In fact, to be “faked” is, in a meas
ure, an honor under such circum
stances. Two of the prize winners, '
“Meditation,” by Du Bois, and j
“Snakey," by Bernard Keyes, have I
furnished excellent material for the [
fakers, as well as "Model in Dressing ;
Room,” by Sloan; "Missouri Musi
cians,” by Benton; “Wings of the
Morning,” by Mattson, and “A Muse." i
by Brackman. The holding of such
an exhibition was a capital idea; sport \
of this kind helps to clear the air.
Studio House Will Show
Drawings and Prints.
J^EXT Thursday, April 29, Studio
House, 1614 Twenty-first street,,
will open an exhibition of prints and j
drawings by the Spanish sculptor,
Mateo Hernandez, who has made a
specialty of sculpture of animals. The
Metropolitan Museum of Art acquired
last year a “Black Panther" by Her
nandez, carved in diorite, which, like
everything this artist does, was cut
by him directly from the block. Add
ed to the difficulty of this technique is j
the fact that the materials he uses |
are among the hardest known. This
exhibition of his prints and drawings j
will introduce him to Washington art
lovers.
Opening on April 29 and continu- j
ing to May 10 in Studio House will ;
be an exhibition of recent work by a ;
group of artists of Washington and
Baltimore, among whom are Alice j
Acheson. Robert Ades, Julia Eckel,
Robert F. Gates, Richard Lahey, Her
man Maril, Marjorie Phillips. Pren
tiss Taylor, Charles W'alther and
Elizabeth Roberts.
Howard Giles
Will Exhibit Here.
N EXHIBITION of water colors of
New England and the West by
Howard Giles will open with a pre
view in the Gallery of Modern Mas
ters, 1B67 Connecticut avenue, to
morrow afternoon, to continue to June
1. This should prove of very great
interest, as Giles is not only a good
painter but a deep thinker and
through his works and his teaching
has exerted a strong and beneficent
influence on contemporary art. For
many years he was dean of the faculty
of fine arts of the Master Institute of
the Roerich Museum. He is one of
those who believe that ‘‘the laws of or
der in Nature are the principles of de
sign in art" and is an exponent of the
Hambridge theory of dynamic sym
metry.
It is in these same galleries that
the painting entitled, "Passing Storm,
Dolomite Mountains,” by Isobel Kuhl
man, reproduced on this page on April
10, was shown, together with other
studies of great interest by the same
artist. Miss Kuhlman uses for the
majority of her paintings oil colors,
but in the manner of water color, in
thin wash and with great delicacy.
She is an indefatigable student and
an eager investigator, and pushes her
investigations to the limit of her field
in order to extend knowledge and
boundary. Mast striking in the col
lection shown were interpretations of
olive trees expressive of various emo
tions or experiences. She, too. is an
exponent of the Hambridge theory.
Water Colors of Virgin Islands
And Other Current Exhibitions.
QTHER exhibitions now current and
later to be reviewed are waters
colors by Mitchell Jamieson, to be
seen in the little gallery of the Inti
mate Bookshop, 3204 O street, George
town, the invitation to which carries
a quotation from Mrs. Roosevelt's re
cently published autobiography, "My
Day,” commending and telling of the
acquisition of one of Mr. Jamieson's
paintings made in the Virgin Islands;
exhibitions at the Public Library and
its branches of works by local artists
and an exhibition of water colors by
Oscar Julius in the art gallery at
Howard University.
Lawrence Saint to Lecture
On Stained Glass.
T TNDER. the auspices of the Archeo
logical Society of this city a lec
ture on "Stained Glass—Is It a Lost
Art?” will be given by Lawrence B.
Saint, in the auditorium of Gunston
Hall School, this evening at 8 o’clock.
Mr. Saint was for eight years director
of the Washington Cathedral Stained
Glass Studio, during which period
were produced and installed the 13
windows in the choir and the north
transept rose window, as well as win
dows in the chapels of St. Mary and
St. John. Prior to his association
here, he designed and Installed five
windows in the Bryn Athyn Cathedral
near Philadelphia. He has made ex
haustive study of the glass in the
great cathedrals abroad.
1 •
Damage Suits
(Continued Prom Page B-l.l
verdict and pointed out that the plain
tiff had obtained one almost as large
—$40,000—in Boston.
Strange and seemingly trivial occur
rences led to Bonner’s delicious balm
for ‘injured reputation.” The news
paper attacks gfpw out of trouble!
*
with a commission file clerk, Mrs. Min
nie L. Ward, who drove Frank W.
Griffith, chief clerk, from her office
writh a bombardment of water and
eggs. When she was suspended, she
sought redress by petitioning the high
est authorities for action against
Griffith and Bonner.
JN JULY, 1935, after fighting the case
in the courts for four years, Mrs.
J. Borden Harriman, Minister-desig
nate to Norway, got a judgment for
$850 against Joseph P. Maher, a sub- J
contractor, whom she charged with
dumping dirt on shrubbery on her
Ridge road property. The dirt came
from an excavation for the home of
the late Raymond T. Baker, former
director of the mint.
Compensation was obtained by Mrs. ]
Emma Burris in the Summer of 1932 1
for the death of her husband by sun
stroke. Burris died while loading old
curbing into a truck when the tem
perature was 92 and there was no j
shade. The Court of Appeals held
that the character of the work was
principally responsible for the stroke
and directed the United States Em
ployes’ Compensation Commission to
compensate the widow.
A judgment of $250 was obtained !
in May, 1935, by an evicted couple i
against a United States marshal who j
had dispossessed them. The award
was to cover damage by rain to furni
ture moved out of the couple's resi
dence during dispossession.
Evalyn Walsh McLean, she of the |
Hope diamond, lost, in 1934. a dam- \
age suit brought by Attorney Albert
W. Fox for money he claimed was
due him for services in the divorce
litigation between Mrs. McLean and
Edward B. McLean, former publisher
of the Washington Post, and in con
nection with her attempt to ransom
the Lindbergh baby. Mrs. McLean
testified she dismissed Fox after he
had said she was considered men- I
tally deficient, but the attorney was
awarded $3,000. He asked $22,700. j
^^UTOMOBILE accidents are, of
course, the chief producers of
damage suits. One of the biggest
awards made In the past five years
for injuries caused by an automobile
was not, however, in the ‘‘traffic”
category.
Harrison Herlinger, a young me
chanic, was working under a car in
a garage. A parked salt company
truck, which had been left in re- |
verse gear, backed against the ma
chine under which Herlinger was
working, causing it to fall on the
mechanic. Herlinger lost the sight
of one eye and one side of his face
was paralyzed. He obtained a judg
ment against the salt company for
$32,500.
One of the motor trips which Presi
dent Hoover regularly made to his
Rapidan camp in Virginia gave rise to
a noteworthy damage suit, Mr. Hoo
ver liked to be driven rapidly. Fol
lowing him was the usual train of
automobiles bearing Secret Service
men and newspaper correspondents.
Properly to cover their assignment
the latter had to keep up with the
President’s car, which meant keeping
the line of cars in the party unbroken
and traveling at a high rate of speed, j
Among the correspondents, in their
own car, was Frank Connor, with j
wife. A big interstate bus nosed into
the ‘‘line of march" and struck j
Connor's car. Mrs. Connor was seri- j
ously injured. Both husband and
wife brought suit against the bus
company. Connor lost, but his wife
was awarded $5,000.
The accident also had this out
growth: Correspondents covering the
White House petitioned the Presi
dent to reduce the speed of his driving
on auch trips.
Sun
(Continued From Page B-l.l
experiments were resumed in 1920 bv
substituting sheets of glossy rolled
aluminum. These aluminum sheets
were thick enough to preserve their
shape when screwed to the steel.
They added very little to the weight
of the mirror and were found to
reflect about 75 per cent of the total
solar radiation.”
Some driving mechanism next had
to be devised to cause the mirror
to follow' the apparent daily march
of the sun. Instead of the highly
expensive astronomical clock and
mechanism used by astronomers for
such purposes, Dr. Abbot devised a
cheap clockwork contraption that
allowed the mirror to turn a little
faster than it should to follow the
sun. At the end of each five minutes,
after being held ba^k by this gadget,
the machinery was permitted to run
again and revolve the mirror. The
whole driving outfit cost about $15
and three days' work and has op
erated, according to Dr. Abbot, for
about eight hours a day perfectly
satisfactorily through several Sum
mers.
The reservoir that stored the sun’s
heat was made of steel, with welded
corners, and stands on a platform
about 6 feet above the top of the
mirror. There is a device which re
stricts the heating in the early morn
ing to the upper oven in the reservoir,
and then, when this is hot, to dis
tribute the heat throughout the whole
reservoir. Reservoir and pipes are pro
tected from loss of heat by special
earthen bricks. In the ovens tem
peratures of 175 degrees centigrade
are readily attained, hot enough to
bake bread. In its present position
on Mount Wilson the reservoir and
mirror are partly shaded in the early
morning and altogether shaded after
about 2 o'clock in the afternoon by
trees, so that only about seven hours
a day of sunlight are available. Never
theless the temperature of the ovens
remains always above boiling, so that
many kinds of food can be cooked
at night if desired. .
Fruit, declares Dr. Abbot, is pre
served with great ease. The pre
pared fruit is put Into glass jars, cov
ered over with sirup and left over
night in the lower oven. In the morn
ing the jar covers are fastened down
while still hot. The cooker is also
convenient because foods may be pre
pared in a cool kitchen with no danger
of burning in the well-tempered heat.
Foods may be left to cook for hours
without harm and meats and vege
tables become delicious viands indeed
when cooked by the sun.
Dr. Abbot has many interesting
things to tell about solar power. For
example, he points out that the
wasted solar energy in deserts is thou
sands of times more than all the power
requirements of the world. If that
energy could be maintained con
stantly it could be made to compete
on equal terms with coal at about $3
a ton. It must be remembered, Dr.
Abbot reminds us, that solar radia
tion is interrupted by night and by
clouds, so that an efficient power or
heat storage would have to be pro
vided if large solar power plants were
used.
Perfecting arrangements for power
purposes would present the most dif
ficult problem in developing solar
radiation for commercial purposes.
Dr. Abbot believes, because of the
necessity for improved niethods of
storing the heat on a /arge scale.
But he does not considejr the prob
lem insurmountable by any means,
simply open to further and more as
siduous study than it has received
so far.
as ior me use oi me sun ior cook
ing and for similar purposes, he is
enthusiastic, for present experiments
are working in such a highly satis
factory manner. Conceding that there
are certain sections of the United
States where solar radiation is more
constant and intense than in other
sections. Dr. Abbot still believes that
over a great portion of the United
States solar power is possible and
practicable. The State of New Mex
ico alone, he points out. receives near
ly 100 times as much solar heat as
the combined consumption of coal,
oil and hydroelectric energy in the
United States, if expressed in heat
units.
"Evidently," he states. "New Mexico
would be a rich State if she might
utilize thus free gift from the sun
without costly devices for applying
it. There lies the crux. Is it possible
to utilize solar radiation for power
without prohibitive expense for the
machinery?" Dr. Abbot believes that
it is, provided such machines can be
built on a quantity production basis.
In addition to the heat collector and
solar engine, Dr. Abbot is the in
ventor of the solar cooker, a solar
distiller and a solar toy for “children
or grown-ups” that will cook food or
run small engines by the power of the
sun alone.
With his distilling apparatus it Is
possible to distill waters charged with
alkali, for example, such as are found
in the Southwest regions. The distill
ing is entirely a solar process. He
has also invented what he calls a
“flash-boiler.”
This instrument was demonstrated
by Dr. Abbot before the American
Association for the Advancement of
Science in Washington during the
Patent Centennial celebration and
has also been demonstrated in other
parts of the country. For a season
it was on display at the Smithsonian
Institution in Washington, as was also
the solar engine. By means of the
flash-boiler it Is possible to generate
heat available for all purposes five
minutes after solar radiation has
begun.
Fine Old Brass and Bronie Incense
Burners, Flower Containers, Mongo
lian Stirrups, Spear Heads, Bowls and
Candlesticks.
ASIAN ARTS
1143 Conn. Ave. NAt. 4535
Abbott Art School
SPRING AND
SUMMER CLASSES
Commercal Art — Fashion — Life —
Costume Designs—Fine Arts—
Interior Dec. — Etching — Block Print
1143 Conn. Ave. NA. 8054
Cezanne, Seurat, Picasso j
Gauguin, Modigliani |
Prendergast, Davies, others )
From the i
CORNELIUS J. SULLIVAN j
COLLECTION j
Exhibition from April 24 )
Auction April 29 O 30 j
Send $1.00 for Illustrated Catalogue )
American Art Ass’n ;
Anderson Galleries i
$0 East 57 Street, New York I