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*^mmw^*r*mt^*Wmt^^r\^^mPt*mlmlml* .^^?>.'lV^%^^^fc .^r^%^^^+^^^b^^^r*^^?^m* ' anaa????^^ ?o?"sa.ca. "?J>_E-S."Gr__?L_W? -Efc-?; UNDERTAKING NEVER ATTEMPTED BY A SING! ?SE IN THE TRADE. OLAR PRICES ! To dispose of this number of instruments, within a few weeks, would have ? been considered impossible by any other firm but THE CABLE COMPANY. We fully appreciated the situation, and knew that only ROCK BOTTOM PRICES would bring the desired results. SIXTY SALES Rf?DE LAST WEEK Shows conclusively that we are giving piano values that cannot be obtained j li elsewhere. Competitors stand aghast at this great reduction sale. The people are interested and aroused, as is evidenced by the great number of sales made in a single week. HOLIDAY PRICES! MONTHLY TERMS ! MANUrA^rUntKi PIANOS"AH3 Wim $650 Upright Pianos.$550....$10 per month $550 Upright Pianos.,.;..,.';....;..$500...,.$10 per month $450 Upright Pianos....-.$375........................... $8 per month $400 Upright Pianos.....$325........................... $8 per month $375 Upright Pianos..$290..... $7 per month $350 Upright Pianos.....$269._. $6 per month $300 Upright Pianos...$250......... $6 per month $250 Upright Pianos...................$200.......... $6 per month $225 Upright Pianos.....$179...!.... $6 per month iniin rnlbr ifinh i TMEN m EXCHANGE ?H THE ?RTISTI0 CAB?IS ?_MX> CONOYER PIANOS One $400 Ivers & Pond Piano for..... $1(59 One $800 Hardman Grand Piano for.. $350 One $300 Fisher Upright Piano for...?. $?50 Quite a number of other standard makes in slightly used Pianos at one-half values. J. G. C03LEY, Hgr n CLOSING OUT STOCK OF SM. INSTRUMENTS AT PRIME COST. Fine Guitars from $350 up_* A large stock of Mandolins from $250 up. Banjos ranging., in price from $4.00 up. Good Violins from $5.00 up. n IDS. We have a full stock of EDISON PHONOGRAPHS, ZONOPHONES and VICTOR MACHINES and Records. It is needless to say that the EDISON is the acknowledged leader of all talking machines, and it is here you find a full stock to make your selection from. 213 E. BROAD ST. His Road to Success, Like That of All Others, Had Many Rough and Stony Places In It. lr cor.t .butions fo "he fn '.'? ?kiy contains a very in* ? oil the famous young ar wlib copyright drawings Times r.<;_- made arrange . -t the drawings, and a :ost interesting ees ay on : ?- irtlcular Interest to '.: : -.-. :- na the fact that bride in Richmond, Ch -.rles Dana Gibson cot escaped the usual course in the School of Hard Knocks which falls to most men who are worth their sait in the artistic profes? sion. The important facts in his career may be briefly stated. The first of American draughtsmen tras born near Boston, at Roxbury. "Mass., in 1_?*7. His family is or' good American stock, the ma.e members having gener a.iy combined physical strength with marked intellectual traits. Gibson him? self, standing over six feet, and of pow? erful frame, is a typical specimen of his race. "I often fee) " he said with a smile, "that it is absurd for a big feliow like mc to pl?y at work with a little pencil." Mr. Gibson's father settled at Flushing. Long Island, when the future artist was but three weeks old. and so he grew up to all intents and purposes a Xew York boy. Mr. Gibson whimsically denies that he was ever what is caiied a "youuiful ? prodigy."' or that at an early age he displayed a remarkable precocity for art. ??At any rate." he >a;d to the present writer, "I have no.-er seen any barn M*? - ? ^_U_f f3 ?V 0 -___35- ____*? ___S*! doors decorated with my colored crayons, and If I made sketches in those days, my parents probably destroyed them out ] of regard for my feelings in years to come. But I did begin to make pictures, or attempt at pictures. w..en I was stii! a boy. and when I was seventeen I join? ed the classes of the Art Students' League. Soch is the confidence of youth, that by the time I was nineteen I thought I "knew it all*?perhaps a litt'.e more?and so I took a studio here in , New York, and began to turn out draw- j tngs." I Art Is proverbially a stern mistress. j Many a man has ?served a harder ap- ! premioeship than r*id Gibson, but his pro- !? bation was sufflcientiy trying, as has j. been hinted already, and he proved by frequent rorerses the o!d. old truth that i there is no royal road to success. Two ! years of siu<"*y w'th the New York Stu- j denes' Leagrue. and a bnef course later j at Julien's atelier In Paris?that was the sum of Gibson's artistic education so far as it was picked up in the professional schools. LEARNED "LITTLE IN SCHOOL. ""When I got out of the art school.'" he ' says. "I could draw no better, to al! ap? pearances, than when I went in?at any rate, my work wasn't a bit more salab'e. But I made up a portfolio of ail sorts of things I had done in the school?awfully ; had no doubt the greater part of th^m ' were?and star'ed out to se? whit 1 cou'd do. I visited every publishing house, rl.iv.o-engraving establishment and 1 Uio ?rinph?r in the city of New York. They were all very polite: they even became pleasantly, familiar with me. and some of them really wished to help me. but none of then? wanted my work. I would take a bundle of drawings to a publish? ing house?not skipping the biggest places ' ?and g've them to the hoy without my name and address, saying I would cail In a day or two. Sometime, t -.-ovlfl e-o back for them?often I left the drawings : .altogether. In a ?Verterate hone, -f -im? pose, that th*?y micht be used If I ceased - worrying about them." I Tb? first success came when "Life" ac- J cepted a drawing, and the art editor In- ' vited young Gibson to submit other speci? mens of his work. There were rebuffs and disappointments stiii to be encount? ered, but the worst was past and a mar? ket had been opened for him by that first picture in "Life." Within a year his pen-and-ink sketches we:e in general de? mand "Scribner's*" gave him a commis? sion to illustrate "The Luck of the I.ogar.s." a story by Sarah Orme Jewett; a:ic! a'most immediately his d s .motive " style began to make itseif felt. Next the 'C-.Miury" recognized the young a tu*, and then "Harper's" took him up. very soon afterward making a contract wi h liini by which he was to draw for no other monthly publication during a year. ; T'.'_ hard time of probation was over for Gibson. His feet were at last planted in the paths of success. Publishers were j now competing for his work. And he I had not yet reached his thirty-fifth year, j ZANGWILL'S OPINION. Once upon a time, in the early heyday of the Cibson Gir'.'s popularity, that keen critic. Mr. Israel Zangwill. wrote: "Mr. Gibson merits the pride with which Ms countrymen speak of him. He has creat? ed the 'American Girl' and a o--.a-r>->ing Centure she is. though modelled on an Iri^h girl, they will tell you in the Latin Quarter." j The Gibson Girl Includes these seven' distinct types: The Beauty; the Boy- ? Girl; the Flirt; the Sentimental; the Con- ; vinced; the Ambitious, and the Well-Bal? anced. The last named Is the artist's fa- . vorite, for it 's sna vrn0 Comes nearest : to the ideal of y<nmg American woman- i hood.' The-Wen-Balanced Girl Is all har? mony, she is loved by many men. sho fafuses". many offers of marriage and still retains the friendship of the men. She is :, a happy combination of the six other j t\pcs of the Gibson Girl?beginning with , the professional Beauty, who is tall, well- : built, knows how to dress. Is always on | parade in full uniform, age eighteen or twenty. The next type, the Boy-Girl, ?s '. a "good fellow" sort, wears tailor-made "* frocks, smokes cigarettes, plays billiards, '-'; will help you out of a scrape as well as into one, talks with disconcerting audac? ity about anything she chooses, is a bit of a "sport" and enjoys more the excite? ment of nearly losing her life on a run? away horse than the attentions of a love? sick man. Gibson's Sentimental Girl Is extremely romantic, fancies she loves a certain man until she meets another who. perhaps, wears better boots, makes each man think she adores him until he takes her in earnest, when she suidenly discov? ers she loves him not. The Convinced Gibson Girl sets herself a certain course to pursue and follows it up without tak? ing a single side step. The Ambitious type has a well defined object in life and is constantly at work trying to attain it hy making her entire life subservient to it. THE GIBSON GIRL. It Is an ill-kept secret among Mr. Gib? son's friends that he is somewhat inclined to resent the predominance which the critics accord to the Gibson Girl In any consideration of his work. And yet. look in., back over the artist's busy and bril iian career?he has not passed his thirty fifth year?it must be recorded that his cieation of this charming type, now unl \ersally identified as the Gibson Girl, was th. chief factor in his first Important suc? cess. The Gibson Girl became the rage upon the publication In New York, in the fall of 1S!>4. of the first collection of tho artist's drawings. The book was received vit h unexampled favor by the public, and tht critics acknowledged It to be of marked significance In the history of American art. The vogue of the Gibson Girl has continued to the present hour, when her creator Is. to say the truth, i a little tired of it and would like to be considered for another kind of artistic ptrformauce. But the public knows-what It wants, and, like a woman, it will not be denied. The- comedian who believes that ho was out out for a sock and buskin of tragedy, the tragedian who feels his Innate fitness for comedy, have orten had chastenl?$ . o.perience of this truth. Mr., Olbson Is" likewise in the hands of his public, and. b-ipj. a prudent as well as gifted young : - - . - ?'-..- '-??'-:' ?"/ ' '?'.-?'? man. he does not run counter to the pub? lic expectation. The latest volume of Mr. Gibson's draw? ings, which he has labelled "The Social ladder." happily demonstrates this. The Gibson Girl is here in evidence again, not so numerously and aggressively so as In previous collections*;'but she ts here, nevertheless, and one can imagine her making a charming moue at the jealous artist for not yielding to her the center of the stage and the whole of the book. as in the earlier years of her reign. HAS A FUTURE. The critics who have heretofore refused to consider Mr. Gibson as an artist of serious possibility and power should give q litt'e study to the picture entitled "The Troubles of the Rich." the only one of the mordftntly satirical series whicu r need particulariize. Better than tpords -t-?ld tel! it is the story told by the flraw ?n? tt?e'f. yet one miy be pardoned f'->r going lamely behind the artist in an ef? fort to suggest what he his done so well. The grand dining-room, with all its ap? purtenances of luxury, the flunkies im? posing and sp'enclid. the master of _..e house decrepit and huddled pitifully in his chair, the sumptuous table laden with c>st:y service of gold and silver, the dieery magnificence of the banouet with the guests so few and wide'y separated? ' Sfvr-il have sent their ragr^ts at t*-?e last r/omenf? all make up a picture elo? quent in its every detail, s-arine: in it? sstiric truth, terrible in the voiceless moral It preaohe.s. And yet the f.-i.rn.-jjr of pathos Is not lackins:: it speaks In the bioken figure or" the senile ma=rer of the hcuse. with his poor old rD*-T??f-*<"t' head and half-shut &yes: it is powerfully sug gi-sted by every detail of that funeral feast, and It is even legible on the oride worn face of the most conspicuous woman in the scene. Many persons will believe that tno artist has saved his best and most stn... lng picture for the last leaf in his book. Certainly there is a beauty of concep ? Work Still a Young Man, He Has a Future Before Him. Different Types of the Gibson Girl?Great Popu arity. I tion, a sense of imaginative power, la j the composition entitled "'When a Man's i ir. Love," which place it with cha very j rarest performance of Mr. Gibson. Neve? has the quest of the "eterna! feminine'** | been more subtly, yet powerfully Indica.? j ed by pencil or brush. And how grandly? I simpie it is?as true art ever is! Th? lover exiled to the desert sees the faca of his beloved in the rushing clouds ar_i on the sculptured rocks. It Is indeed tha universal theme, touched with this reveal? Ing tight of genius. I have ventured to suggest Mr. Gib? son's ciaim to consideration as a seriou? artist, though to a majority of his coun? trymen he seems perhaps no mor* than an exceedingly clever cartoonist, a grace? ful draughtsman. But such work as ha has given us m "The Social Ladder* i cannot fail of Us due recognition. Tha artist is still a young man. and. viewing the sum of his performance to date, knowing also the resources of his unsat isaed ambition, his vigorous personality? one may well indulge the hlgnest hopes. of his "future. The "noble ;. discontent" that makes for art has never yet in hUS been lulled to sleep by self-complacency. He is as eager now as when fame first came to him. He has worked hard foif j the success already won?he will wor_t ? harder yet. And perhaps If this War, I silent young man would give utterance j to his "deepest self, the cry of his soul i would be: ??Time and I i_*ala-t ____* -cher two!'"