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Events in the World of Art and Music of Interest to Washingtonians
Violinist Is Symphony Soloist Tonight Miss Perkins Made Debut Here at Age of Eleven; Kurtz to Be Guest Tonight's Sunset Symphony by the National Symphony Orchestra at 8 o’clock, which Dr. Hans Kindler will conduct, marks the first appear ance of a soloist on this summer’s series at Potomac Water Gate. She will be the brilliant young violinist, Gloria Perkins. Wednesday evening's Sunset Symphony concert will introduce the first of this summer’s guest conductors—the musical director and first conductor or the Monte carlo nai-« let Russe, Efrem Kurtz. Mr. Kurtz will also conduct the National Sym phony Orchestra on next Sunday’s concert. Robert Crawford, American, baritone, will appear as soloist with Mr. Kurtz on Wednesday's concert. For tonight’s Water Gate audience Miss Perkins will play with the or chestra Tchaikovsky's great and enormously popular “Concerto for Violin in D Major.” Sharing the first half of the program with Miss Perkins, Dr. Kindler and the Na tional Symphony Orchestra will play overture “Russian and Ludmilla,” by Glinka. The second part of the program opens with Wagner's “En trance of the Gods Into Valhalla,” from “Rheingold,” and "Song of the Rhine Daughters,”from “Gotterdam merung.” These will be followed by two numbers of Anatol Liadov's “The Enchanted Lake” and “The Music Box.” For its final number the orchestra will play Rimsky Korsakov's “Capriccio Espagnol.” Amazed Public as Child. Gloria Perkins returns tonight to the conductor and orchestra with whom she made her debut. That was In 1933, when Miss Perkins had achieved the ripe age of 11. The complete mastery of the instrument which she exhibited upon that occa sion amazed and delighted the crit ical fraternity and laymen alike. Bo successful was her debut that she was re-engaged as soloist for the National Symphony Orchestra's next season. Since then she has ap peared with other of the country's distinguished symphony orchestras and has given two Town Hall re citals which brought forth superla tives from the New York critics. An artist-pupil of the renowned Louis Persinger, Miss Perkins has been playing the violin five hours daily since she was so young that a special violin naci 10 De mane uiai would accommodate her tiny fingers. Now 17, and wearing a long bob in stead of the dark curls she had on her last apeparance in Washington, Miss Perkins looks something like a very young edition of Lily Pons, and is a completely normal girl in everything but the maturity of her violin playing, with the interests and activities of any average 17 year-old. Her latest achievement was the winning of the Tony Wons contest award sponsored by the Federation of Music Clubs, for which nearly 2.000 young artists com peted. Her appearance at the Water Gate tonight marks the last concert In her summer tour, which covered three weeks of concerts in four States. Kurtz Known Here. Efrem Kurtz, guest conductor on Wednesday’s and next Sunday’s Sun set Symphonies, is familiar to Wash ington music lovers and balletomanes through his appearances here as musical director and first conductor of the Monte Carlo Ballet Russe. His appearance Wednesday, however, marks the first time he has con In Local Music Circles On the occasion of the second an niversary of the death of Gugllelmo Marconi, the inventor of the wire less telegraphy, a memorial program will be given under the auspices of the Washington Lido Civic Club. The Washington Schola Cantorum, Arturo Papalardo, conductor, will broadoast over Station WMAL on Wednesday evening at 9 o’clock. The program of music, by Verdi, Handel, Beethoven, Tchaikovsky and O’Hara, will be sung alternately by the men’s voices, women's voices and the en tire mixed ensemble. The guest speaker will be Thomas D'Alesandro, Representative from Maryland. Mrs. Afton Margetts, soprano, and Howard Milner, baritone, will be the soloists lor the occasion. Anne Burgar is substituting at the organ of Luther Place Memorial Church while Cornelia Long Kin sella, the regular organist and di rector, together with Nell Chaillet, soprano, is spending two weeks at Ocean Grove, N. J. Rebecca Chandler presented a group of pupils in a piano recital Tuesday, June 27, in the assembly room of the Y. W. C. A. Those tak ing part were Sue Ann Meyers, Olive Davis, Dorothy Malone, Au dry Ricketts, Vernon Ricketts, Lilly Stone, Prank Stone, Margaret Sal lett, Marjory Whitney, Elaine Sil bersberg, Wilfred Milofsky and Anita Pomlnaya, Eloy Fominaya, Gordon Linke, pupils of Mary Park Clements. The accompanist was Mrs. Gerald Whittaker. Donald Thomas, lyric baritone of Washington and New York, as guest soloist of the Immanuel Reformed Church of Baltimore, sang “The Publican,” by Van de Water, at the moming service, Sunday, July 9, accompanied at the organ by Robert Basy, the church organist. Folk Song Program Folk songs and folk dances of Poland and other nations will be featured in the forthcoming fifth weekly Summer Festival program on Tuesday night at 8 o'clock, In the National Sylvan Theater at the Washington Monument, when the Summer Festival Committee stages its annual “International Night” program under the direction of Harriet Lewicki, who Is educational director of the Polish Alliance Club in America. Warren F. Johnson, Organist Church of the Pilgrims 22nd and P Sts. N.W. 7:30 O'Clock "Andante Seriono” and "Allegro Gio ooso" from Sonata In E fiat, E. C. Bairstow * t p-—-— ducted the National Symphony Or chestra in concert. Russian-born Mr. Kurtz owes his close association with the ballet form to a visit the late Anna Pavlowa paid in 1927 to Stuttgart, where Kurtz was con ducting the Philharmonic. So im pressed was the great ballerina with Kurtz’s musicianship that she en gaged him to conduct her London season and subsequently her South American tour. In South America Kurtz conducted symphony concerts in Rio de Janeiro and Buenos Aires, which led to his engagement by the Tait management for an Australian tour. Hardly had he arrived back in Stuttgart when he received three more offers to return to Australia, but his European contracts pre vented. Mr. Kurtz's 39 years have been full of dramatic accidents. His first en gagement in 1920 was an almost melodramatic last-minute substi tution for the famous Artur Nikisch, when he conducted for Isadora Dun can, followed by three concerts with the Berlin Philharmonic. Again in Paris, in 1933, he met Col. de Basil, who asked him if he would help out in an emergency and conduct a Bal let Russe concert without a re hearsal. He did, and has been mu sical director of the Ballet Russe I ever since. He has also done consid- j erable recording with the London i Philharmonic. Last week Mr. Kurtz made his debut at the Lewisohn i Stadium, New York, conducting the j fourth week of the stadium concerts, i On Wednesday Mr. Kurtz will con duct the National Symphony Or- ! chestra in Berlioz's “Symphonie Fan tasuque ; eiDenus uanzoneua. Schubert's “Allegro” and “Minuet” j from the "Third Symphony,” and Wagner's “Overture to the Flying Dutchman.” Appears as Soloist. Appearing as soloist with Mr. Kurtz on Wednesday will be the dy namic and versatile young Ameri can baritone, Robert Crawford. Known as “Alaska's favorite son,” because of his origin in the boom town of Dawson, Mr. Crawford had made enough as a surveyor at the age of 16 to send himself through Princeton. There followed fellow ships to the American Conserva tory at Fontainebleu and to the Juilliard Graduate School. A mem ber of the faculty at Juilliard, a so loist at New York's St.- Thomas' Church and a distinguished com poser. Mr. Crawford has made many notable appearances in opera, con cert and radio. With Mr. Kurtz and the National Symphony Orchestra Mr. Crawford will sing two groups of two numbers each on Wednesday night's program. The first group consists of “Solilo quy.” from “Caponsacchi.” by Hage man, and "The Buzzard Song,” from “Porgy and Bess,” by George Gersh win; the second is composed of “Toreador Song,” from “Carmen,” by Bizet, and "Caliban in the Coal Mines,” by Lewis Raymond. Freund Frolic Show Robert Frederick Freund will pre sent his new organization, the "Freund Singers,” on Thursday, Fri day and Saturday at 8:30 pm. in Pierce Hall, Fifteenth and Harvard streets, in a novelty vaudeville show which is appropriately titled “The Freund Frolics.” When Mr. Freund presented the "Nightmare After the Opera” this past season, he featured the men of the chorus in a ballet number which is well remembered. In hie new show, he features the women in the chorus, burlesquing one of his voice class lessons. From the rollicking strains of a German band, the plaintive melo dies from a Negro shanty in Catfish Row to popular tunes done in modernistic tonal, color and cos tume, peculiar to the Freund organ izations, this new variety show offers another hit for Washington audi ences. The annual recital by the pupils of Eva Virginia Johnson took place Thursday evening, June 29, 1939, at John Wesley A. M. E. Zion Church, Fourteenth and Corcoran streets N.W. The “Virgin and Child in a Procession of Virgin Saints,” illuminated vellum leaf, painted at Bruges at the beginning of the 16th century by an artist of the school of Gerard David. It is on display at the Pierpont Morgan Library. New York. EFREM KURTZ, Musical director of the Monte Carlo Ballet Russe, who will conduct the Water Gate con certs on Wednesday and next Sunday. RE1N0 LUOMA, Finnish pianist, appearing in a sonata program with Elena de Sayn, violinist, this afternoon at the Catholic University. Past Season, a Busy One For Friday Music Club The final business meeting of the 1938-9 season of the Friday Morn ing Music Club was held on May 12, when the following officers were elected for the coming year: Presi dent, Mrs. Eugene Byrnes; vice presidents, Miriam B. Hilton and Ruby Potter; recording secretary, Mrs. William Humphrey; corre sponding secretary, Dorothy Tyler; treasurer, Katherin Riggs; assistant treasurer. Mrs. Robert Le Fevre; musical director, Lucy Brickenstein: assistant musical director, Florence Howard; chairman of Reception Committee, Ethel Holtzclaw Gaw ler; chairman of membership, Em ily Coville; chairman of printing, Mrs. Hugh A. Brown; chairmen of hospitality, Helen Grimes and Blanche Polkinhorn; chairmen of orchestra, Miriam Hilton and Kath erine Riggs; chairman of publicity, Florence Howard. The Board of Governors includes Helen Turley, Helen Grimes, Susan Oliver, Rita Bement, Vera Neely Ross and Anne Yago McGuffey. An innovation arranged by the Program Committee was a series of talks on one Friday of each month given by the following: Nadia Boulanger, eminent French conductor and musicologist, whose topic was “The Music of Strawin ski.” The two-piano concerto (1935) for solo pianos, played by Fanny Amstutz Roberts and William Hold en, was the illustration. Hans Kin dler, conductor of the National Symphony Orchestra, addressing the club with musical remembrances and sharing his program with Mary Howe, pianist, composer and mem ber of the club, who discussed how she wrote “Coulense.” This was il lustrated by Kay Rickert, violinist, and Louise Ehrman, cellist, both from the National Symphony. Charles Edward Russell, musical authority and literateur, in a highly diverting and amusing recollection of Theodore Thomas and his times, assisted by Margaret Tolson, pianist. Alice Eversman of the Evening Star, commenting on “Modern Trends in Opera,” and assisted by Esther Cloyd, Mary Apple and Ina Holtz scheiter, singers; Helen Campbell Williams and Marjorie G. Davis, pianists; a vocal ensemble and re cordings: Ray C. B. Brown, commen tator of the Washington Post, talking about “The Impossibility of Talking About Music,” and assisted by Willa Semple, pianist; Dr. Glenn Dillard Gunn, commentator of the Washing ton Times-Herald, who discussed “Some Unexplored Possibilities of Piano Playing,” playing his own il lustrations. Maude Sewall, musicolo gist, who compared and contrasted Schubert and Mozart, and Anita Schade, who talked about the Schu bert song cycle, ‘‘Die Schone Mul lerin,” and narrated the story which Wilhelmina Spanhoofd Walter gave in song. During the season the artist mem bers of the club heard on the pro grams were as follows: Pianists— Irene Lerch, Dorothy Radde Emery, Helen Grimes, Constance Russell, Lois Abernethy, Willa Semple, Mary Howe, Alice Brooks, Lucy Bricken stein, Fanny Ross Henbest, Ethel Garrett-Kaspar, Helen Campbell Williams, Marjorie G. Davis, Marga ret Tolson and Mabel Frost. Singers —Ruby Potter, Lily Garrett^Wilhel mina Spanhoofd Walter. Florence Ludy, Elizabeth Everett, Mary Apple, Lucy MacMoreland, Kathryn Sale English, Dorothy Tyler, Vera Neely Ross, Edna C. Wheelwright, Ina Holtzscheiter. Elsa Radle, La Vergne Fairchild,Madalynne Powell Cheath am, Anne Yago McGuffev, Ethel Gawler, Helen Turley, Edith Le Fevre, Carolyn Thompson, lone Hoffman and Norma Simonson. Violinists—Mary Park Clements, Julia Robertson. Grace Powell, Lela Burt and Cecelia Mary Mahoney. An announcer, Katherine Riggs Burchard; a commentator, Maude Sewall; a producer, Miriam Hilton, and a narrator, Anita Schade. Guest artists of the season in va rious capacities were: Charles Trow bridge Tittmann, honorary mem ber; Louis Potter. Esther Cloyd, soprano; the Studio Singers, the music section of the Chevy Chase Women’s Club, Flora Weber, accom panist; Milton Schwartz, violinist; Betty Baum, pianist; Claude Robe son, accompanist; Kay Rickert, vio linist; Louise Ehrman, cellist; Helen Foster, violinist ; Daisy Fickenscher, cellist; Mrs. David C. Book, ac companist; John Marville, accom panist: Henry Kaspar pianist; Ed gar Davis, accompanist; D. Ster ling Wheelwright, accompanist; Doris Sturgeon, violinist; William Brackett, accompanist: Reino Luo ma, pianist; Prof. John Osbom, accompanist; Edwin Charles Steffe, baritone: Beth King, accompanist; Fanny Amstutz Roberta, pianist; William Holden, pianist; the mem oeis ox uie eenuneis yuartet (Fred Denniston. David Manley, Sam Cot ton and Alexander Masson); Judy Conklin, Judith Coville, Leah Ross, Margery League Hughes, Alden Em ery, Florance Yeager, Emily Tooley, Calderon Howe, Anne Hull and Helen Howison. Special event* included the Mozart pageant and the spring frolic ar ranged by Miriam Hilton and the memorial program in honor of Greta von Bayer, featuring her composi tions. ‘Wings Over Jordan’ “Wings Over Jordan,’’ chorus of nationally known broadcasting ar tists, will appear in concert at Grif fith Stadium Wednesday at 8:30 p.m. Having served the millions of listen ers over the Columbia network for over one year, the “Wings Over Jor dan" chorus will appear in person at Griffith Stadium under auspices of Metropolitan Baptist Church, 1225 R street N.W. In order that all may be able to hear clearly, the American Amplify ing Co., which handled the outdoor Marion Anderson recital on Easter Sunday, will carry the program to all within the stadium. The chorus of 42 voices will be sponsored by some of the leading citizens of the city, including Judge Armond W. Scott of the Municipal Court and wife, Dr. W. J. Tompkins, recorder of deeds, and wife; Mary McCleod Bethune of the National Youth Ad ministration, Velma G. Williams of the District School Board and Nan nie H. Burroughs, president of the National Training School. The concert is being given to aid the Metropolitan Baptist Church in its expansion drive to provide ac commodations for its young people, as well as the singing and training organizations. Tickets are on sale at the church and also at Liggett’s drug store, Fourteenth and H streets N.W. Joe Allen Jones, baritone, who has sung “Rigoletto” and “Pagliacci” in the productions of the Remington Webster Grand Opera Guild, left on June 30 for a six-week trip on the American Republic’s liner Brazil. Mr. Jones will give several con I certs on board and expects to return 1 to the States in August. Finnish Star To Be Heard In Festival Reino Luoma, Piano Soloist, Appears With Miss de Savn Reino Luoma, Finnish pianist, who has made several successful appearances here and who will be soloist with the National Symphony Orchestra again this summer, will ' be heard on the second program of j the Jubilee Festival Sunday after noon series at the Cathoiic Uni versity this afternoon. Due to un- j foreseen circumstances, the Catho lic University Trio will not appear and Mr. Luoma consented to sub- j stitute for it at a last minute's j notice. His participation enables the management to arrange a dif ferent program for the one previ ously scheduled. Mr. Luoma will be heard jointly with Elena de Sayn, violinist, in two works in which the significance of the parts is equally divided be tween the two instruments. The masterpieces chosen are Mozart's “Sonata No. XIII in One Move ment,” with its intricate fugue for both Instruments, and Beethoven’s “Sonata No. 9, Op. 47,” dedicated to Rudolpn Kreutzer and known as the "Kreutzer Sonata.” The object of these concerts is ! to acquaint the students of the ! summer school and the public with j the outstanding works in the music | literature at a minimum admission I charge. The one hour's program will begin promptly at 4 o’clock and will be held In the McMahon auditorium, in the Administration Building, in the center of the campus. Conrad Bernier, organist; Edythe Marmlon Bros!us, harpist, and Esther Cloyd, soprano, will be heard In the two remaining concerts. Housing Pictures On Display Here Arranged by the American Fed eration of Arts, the International Exhibition of Modern Domestic Architecture and Housing is now in progress at the Book Shop, 916 Seventeenth street N.W. Consisting of photographs of innovations in homes all over the world, the exhibi tion may be seen daily from 9 a m. to 6 p.m. until July 25. "Woman Carrying a Child Down Stairs," a pen and bistre wash drawing executed about 1630 by Rembrandt van Rijn (1606-1669). This picture, possibly a sketch of the artist's wife, Saskia, and their son Titus, is being shown at the Pierpont Morgan Library In New York all summer, in conjunction with the World's rJr. Morgan Masterpieces Supplement Great Fair Library Represented by Fine Works From Branches of Art by Old Masters By Leila Mecklin. Not only will the Pierpont Morgan Library be open to the public all this summer on account of the New York World’s Pair, but for the benefit of the many out-of-town visitors, it is setting forth a notable spe cial exhibition designed to afford a comprehensive idea of the contents of the library by showing a number of examples from each of the more im portant of its collections. Of all the exhibitions in New York supplement ing the great fair this is perhaps most delightful. It is an exhibition of masterpieces, not in one, but the several arts, and while materially broad ening vision, evidences incontrovertibly the heights to which man has at tained, Intellectually and culturally. Those in search of a definition of art will find it here. «->n inirty-sixtn street, just east of Madison avenue, stands a little back from the sidewalk, the low marble building designed very sim ply in Renaissance style by McKim, Mead and White, to house the Mor gan library. To the original building an addition has been made—Ben jamin W. Morris, architect—but con tinuity has been completely pre served, and the exterior of this un pretentious structure perfectly ac cords in spirit and fineness of feel ing with the interior, which, inci dentally, more than serves the pur pose for which it was designed. One enters, almost abruptly, into a square, well lighted hall which has much the atmosphere of a home; to the left is a large exhibition room; to the right, at the rear, opens a corridor which leads to the main building wherein, from a second and more sumptuous entrance hall, one may make one's way into the hand some study, and the sumptuous “east room,” where, from floor to ceiling, are shelf upon shelf of books. Each hall and room is ut terly different from the others and yet throughout the same atmos phere is maintained. There is enough to see to keep one weeks in the seeing, but not too much to be seen happily—if not abnormally greedy—ina couple of hours. Even from a brief survey one must de rive strong impressions and leave materially enriched. ' Effect of Atmosphere. A part of the impression that this library makes upon the visitor is un doubtedly derived from the atmos phere of the building—the well pro portioned rooms, the agreeable lighting, the rich and appropriate furnishing. On the walls of the ex hibition room and the east room are tapestries of great rarity and beauty; in the study are to be seen a few masterpieces of painting—a Bellini, a Perugino, a Botticelli—not to name all—stained glass that Mr. Morgan brought home from Europe when a young man and long be fore he began collecting books—to say nothing of a few pieces of Flor entine sculpture and a priceless vase of rich red porcelain which once be longed to a Chinese Emperor. i ne waus m tms room are covered with red damask from the Cl.igi Palace in Rome and the ceiling is Italian of the 16th century. The contents of this "study" would he worth a King's ransom, and yet one is not overpowered by its sumptu ousness—in fact it is essentially livable. In the entrance hall of the main building there is over one of the doors a lovely lunette by Della Robbia, and even more breathtaking is a statue in bronze of a standing angel—French 15th century, said to have been intended as a weather vane for Sainte Chapelle, Paris— as simple as anything that modern art has brought forth, but infinitely more subtle and exquisite. And with these great works of art are shown—fine bindings, books su perbly printed, illuminations—origi nal manuscripts of literary produc tions of world renown—art of a different sort but art just the same. This is something which we all sometimes forget. Historic Sources. Instantly upon entering the Pier pont Morgan Library one is intro duced to its collections. In the first entrance hall, where, by the way, is the desk at which postcards, photo graphs, etc., may be had, are shown, in cases, book bindings executed for numerous historic personages who lived during the 15th and successive centuries up to the time of Louis XVI, executed by great binders who were both craftsmen and artists. Among those for whom these bind ings were wrought were kings and queens, scholars and courtiers; Fran cis I, Henry II and III of France, Henry of Navarre, Edward VI, James I, Charles I and his wife, Henrietta Maria; Charles II of England and I-—__ Louis XIV of France, Popes Julius III, Pius IV, Paul V and Clement XIII, Marie de Medici, Diana de Poi tiers, Marie Antoinette and Jean Grolier de Sevier, one of the great est bibliophiles the world has known, a true lover of books and connoisseur of printing, paper and binding— often making his own designs and superintending thase who carried them out. How beautiful these bindings are and how perfectly made! How frankly they evidence the esteem in which printed word was held in those faroff days when printing was, save by hand, a comparatively new art. But what one is bound to remark is the excellence of the orna mental design and the care that was expended upon its interpretation. We have some good binders today— craftsmen of exceptional ability— but very little call for work like this. And after all the bindings match their content. Among the welter of books that come today from the presses how many are worthy of being so royally dressed? Yet the Grolier Club of New York and cer tain other groups and individuals help to continue the tradition. More book covers of elaborate de sign and workmanship are to be seen in the exhibition room. These are of earlier date and are of metal. They date back to the 10th century and among them is a gold and jeweled cover which is considered the most finished specimen of Caro lingian goldsmiths’ work in exist ence. Besides this cover from France there are others from Switzerland. Flanders, England, Germany and Italy. For the most part they are in silver and silver gilt, ornamented not only with jewels but enamels and carvings in ivory. The latest in date is Italian of the 16th century. How precious the book must have been which was thought worthy of such a cover! By Great Masters. In the exhibition room also are shown examples of two other col lections of supreme importance as works of art—illuminated manu scripts and original drawings by the great masters. The former provide endless source of study and enjoy ment. Here, for instance, is a copy of the “Four Gospels,” in Latin, of the ninth century, with entire text written in letters of burnished gold on vellum of varying shades of pur ple. There are four other copies of the “Four Gospels," in Latin, illumi nated; two French and German of the ninth century and two Flemish and Italian of the 11th century. From the 15th and 16th centuries come several illuminated "Hours of the Virgin,” among which is an exquisite leaf painted at Bruges by a Flemish artist of the school of Gerard David, showing the virgin surrounded by a procession of saints with a cathedral in the background. Surely this was done in the day “when art was still religion.” But what a variety of subject matter is found among these illuminations— Psalters, lectionaries, missals, books on the martyrs, brievaries—and secular themes as well—“Materia Medica” in Greek, Byzantine of the 10th century; Pliny’s Letters In Latin—Italian 6th century, earliest of all: “Aesop's Fables"; "Ordinances of Armoury, Navigation,” etc., Eng lish 15th century. Also here one finds—and of much more than pass ing interest—a set of Tarocchi cards —very beautiful in color, design and workmanship—Italian 16th century. The richness of the color and the brightness of the gold used by these illuminators so long ago is matter of marvel. Drawings Reflect limes. On the walls of the exhibition room, above the cases containing the illuminations, are the drawings by the Old Masters. These run from the 15th through the 18th century and include some of the greatest names in the history of art. There is something very intimate and per sonal about them, made as they were primarily for studies, but with all the deftness at the artists’ com mand, and in every case with more than a glint of genius. Here is a drawing by Raphael of “The Agony at Gethsemane.” Pontormo is rep resented by “Group of Four Female Figures,” Durer, at his best, by an “Adam and Eve.” There are three Rembrandts, one of a woman carrying a child down stairs, which, it is thought, may pos sibly be of the artist's wife, Saskia, and their son Titus. It is in pen and ink and wash. Claude Lorrain, one of the earliest of landscape painters, is thrice represented—twice with landscapes in which figures are given chief prominence, and only once by a pure landscape study. In this great parade are Watteau and Fragonard and Boucher, Gains borough and Reynolds, each repre sented by a drawing (or drawings) indicative of character and style. Finally, bringing up the rear, come Blake with illustrations for the “Book of Job”; Thomas Rowland son, with a rather jocose work, “Visit to the Uncle,” and Hogarth, as usual striving to make over the world—by a drawing of “Cruelty to Horses.” What could be better? But inevitably there is a gap between the drawing by a painter made as a study and that of an illustrator who has a story to tell. Just what it is or why it should be is hard to ex plain—but that it does exist this col lection evidences. Exhibit of Etchings. It is not a long step from the drawings by the masters in the ex hibition room to the etchings and mezzotints which line the walls of the long, broad corridor leading into the main building—but if one does not keep an epe on his watch, in sufficient time will be reserved, for the treasures that await in the two large remaining rooms—east room and study. To see two or three etchings by Rembrandt in pristine state is a feast for the art lover, and here are 43, among them some of Ms flneet W " Landscapes On Exhibit Tomorrow Local Artists Show Work at Private Display A private showing of landscape work by local artists will be held tomorrow under the direction of Theodora Kane at the Georgetown Galleries, recently moved to new exhibition rooms at 1419 Twenty second street N.w. The exhibition will Be open to the public until September 1 from 10 a.m. to 5 p.m. daily. This is the second annual land scape exhibition arranged by this gallery for artists resident in the District, Virginia and Maryland. Thirty-one painters have had their work accepted, nearly 50 works in various mediums. Many local views have been the inspiration of these artists. The historic C. & O. Canal has always been a favorite subject; quaint Washington alleys come in for their share, too. Scenes along the Potomac, in Rock Creek and many other familiar spots are por trayed. This year the galleries are offering prizes for the most popular W'orks, the public being requested to vote. To the two artists whose work receives the greatest number of votes will be awarded a two man show at the galleries during the coming season. Artists whose work hangs in the current exhibit include Alice Ache son, Emilie Arlt. Paul Arlt, Lee At kyns, Philip Adams. M. Lee Abbot, George Ann. Bo Barringer, Mar guerite Burgess. J. K. Byrne, Jack Berkman, Mimi Bolton. Margaret Cumberland, Isobel Cotton, Helen Goodwin, Crozier Galloway, John Greer, Helen Hall, Sally Jumper, Bobbie Kerr, Theo Kane, Suzanne Mullett, Hildah Massey, Oke Nord gren, Aida Prencipe, Eleanor Rust, Randy Richardson, Mary' Ruth Snow, E. Poultney Smith, Catherine Vagnoni and Eugene Weisz. and best. The very first etching he ever made—a portrait of his mother dated 1628. begins the story. Other portraits of his mother, his father, Saskia and Rembrandt himself, fol low, as well as those famous plates —portraits of Jan Cornelius Syl vius, preacher, which is put down in the catalogue as a posthumous work; Jan Six, burgomaster of Amsterdam and patron of Rem brandt, and Clement de Jonghe, print seller. Here are some of the best of his etchings of biblical themes—three of which are each twice shown—the "Hundred Guilder Print,” in impressions on two differ ent kinds of paper; "Christ Pre sented to the People” and "Christ Crucified Between Two Thieves,” each in two different states. There is a beautiful print of the "Three Trees” and several of other land scapes, simple and very sincere. The I group is concluded by a pnnt of . “The Woman With the Arrow,” I dated 1661, and thought to be the last plate Rembrandt ever etched. From these masterpieces of etch ing by the greatest etcher of all time one turns to the collection of mezzotints—the earliest executed in 1642, the work of Ludwig von Siegen, who is credited with having in vented the process. Because of the perfection to which this art was carried in England and its exces sive use there, mezzotint engraTing became generally known as "la maniere Anglaise,” but it was bom and cradled on the continent of Europe. Among the great mezzo tinters of England that are repre sented here by outstanding exam ples are James McArdell, Valentine Green and John Raphael Smith, all of whom carried this method of engraving to the greatest perfec tion, and in so doing contributed to the fame of the leading painters of their area whose works they re produced. Just how much of the fame of Reynolds, Gainsborough, Romney and their contemporaries is due to the mezzotints by these engravers it would be hard to say, but certainly they interpreted the portraits painted by them with the utmost sympathy and skill. It is a selection of these in charming ar ray that the Pierpont Morgan Li brary has arranged for the instruc tion and delight of summer visitors. Artistry in Books. Around the corner in the main building .one is in the presence of printed books which are by their own right—design of type, layout of page, composition — works of art. Here as proper introduction, one sees in the main entrance hall, in a ease guarded over, as it were, by the Sainte Chappelle Angel, a copy, in two volumes, of the Gutenberg Bible, produced in Mainz in 1454. This was the first work of considerable size printed, other than by hand, in Europe. There is to be seen with this a Bible in Italian printed in Venice in 1471—tlge first to appear in this language, and also the first in Eng land which was probably printed in Zurich in 1535. There is a first edi tion of the “Book of Common Pray er” and other early religious works. For instance, an “Hours of the Vir gin,” printed by Caxton in 1477— which is the only known copy in ex istence. The beautiful East Room is still to be explored, but in it the interest is in manuscript copies of famous works of literature—of which the limitations of space will not permit description. There is art here, too, however, in illustration, and occa sionally in penmanship—but of the last rather surprisingly little. To the printer of today the typewriter, if far less mighty than the pen, must bring great relief from what must have been in some instances almost insurmountable difficulties. As the door of the Pierpont Mor gan Library closes behind the out going visitor a great adventure ends, but not absolutely, for with the cata logue one carries away in one’s hand goes the consciousness of a great tradition and a better under standing of the culture of the past of which we ourselves today are heirs. This exhibition will continue through October 31.