The Cincinnati Enquirer from Cincinnati, Ohio on April 26, 1931 · 85
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The Cincinnati Enquirer from Cincinnati, Ohio · 85

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Sunday, April 26, 1931
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SECTION FIVE -jl THE WEEK ' IN ART CIRCLE the Enquirer, Cincinnati, Sunday, april 26, 1931 By May L. Alexander. IXIE SELDEN, for the third time this year, has cap tured a prize In an out-of- town exhibition of paint ings. In the opening exhibition of ' the Southern States Art League .at Savannah, Ga., this winter her lovely view of Taxco was designated by the . Judges as the best landscape In the , display. This entitled Miss Selden to the most coveted prize offered by the Association. Taxco was one of the finest can vases Miss Selden brought back from her recent painting trip in Mexico, it held a unique place in her winter one-man show at Closson's Gallery. This was a show that of fered a varied fare one that dem- onstrated Miss Selden's wide artistic cope and excellent craftsmanship, No matter where this artist's work Is shown It always attracts attention and it is fine to know she is hon ored both at home and abroad. It is the personal note In Miss Selden's paintings in landscape as . well as in portrature and still life that gives it charm, but it is knowl- ' edge of selection, composition and downright fine painting that brings it up to the high standard which is indicated and acknowledged by the prize awards which she has received at out-of-town exhibitions. wnetner Miss selden represents a harbor view with boats, a grandiose view of mountainous country with moving cloud forms, a Mexican mountain village, a colorful street scene glowing in warm sunlight, a table strewn with flowers and still , life, a gypsy girl or a citizen of Taxco the striking feature in all of them is the charm with which she ' sets it down In paint. Every thing ' in her picture seems astir, colorful and always full of vitality, breathing always a sparkling personality that makes her one of the most loved and honored of artists. On April 26, at the Wise Centre in Avondale, Professor Boris Schatz of Jerusalem, will open an exhibition , of his work and the work of his son The exhibit will Include oil paintings, brass repousse and ivory carved miniatures that have been shown through the personal efforts . of Professor Schatz and his son Bezalel during the past months at New York, Philadelphia, Boston, Newark, Providence and other cities. Professor Schatz has held heretofore on several occasions in Cincin- natl exhibitions of his work and that of the Bezalel School, which have revealed the sincerity of his artistic purpose. This exhibition, which should interest many people in Cin- cinnati, was organized and brought over to this country for the sole purpose of interesting people in helping to establish a bazarre. for the artistic output of the Bazalel craft work. Ac- ; cording to his plans this bazarre is to be built around the walls of the Bazalel School and will provide for 32 ehops and workshops. For many years Professor Schatz has labored unceasingly to keep this school in existence; his devotion to the cause is known the world over, and there is no doubt but that the Bazalel School has had, so far, real results. We feel its influence on the work of many Jewish artists, who have from time to time exhibited in. this country. Whether Professor Schatz's dream will come true that the Bezalel School will contribute to a develop ment of a Jewish style and form in painting or the plastic arts remains to be seen; we do hope though that Professor Schatz will see the fulfill ment of many of his desires. The idea of the school is certainly to be commended and upheld; at the same time, wo know that artists are artists end as much as such are individuals regardless of race or nationality and as individuals they give of their own spirit as it should be. The exhibition to be held at the Wise Centre promises to be of great interest. Amoner the outstanding bronze plaques is one of the prophet Jere miah on the ruins of Jerusalem and one of Dr. Isaac Mayer Wise, found er of the Union of American Hebrew Congregations and the Hebrew Union ' College. There was also a printed volume of "The Song of Songs," with artistic drawings produced by stu- t dents of the school. In the 1926 ex hibition there were, besides the afore-mentioned objects, rugs of all sorts, works of metal made of bronze and brass. The outstanding object in this ' section of tho exhibit was the bronze bust of Dr. Herzl. There were also in the exhibition many frames of various metals inclosing miniature paintings in ivory. There were trays, plates and cups of different metals, one plate pre- senting the entire story of the de-. liverance. from Egypt, in pictures. There were show cases filled with cameos, bracelets and brooches. Some 35 departments representing the work of the school were represented . at this exhibition. few, c';x Ssb8 . Jir Jill CQiLtcwy; AqxMw?eum. him many times to North Carolina in the Sapphire Country and to the Smoky Mountains of Tennessee for material for his canvases. From time to time these paintings have been shown in Cincinnati and we recall many beautiful examples, particu larly of the swamp lands with their great trees and hanging moss. Of late years Mr. Stevens has come under the sway of the advance move ment which offers design as its basic element. Even from the first the painter has shown a decided ten dency toward decorative treatment, In his latest work, now at the Uni versity, we find this sense of decora tion strengthened. His later paint ings, like the early ones, have a unity and envelopment that is character istic of a region, and although you would not call Mr. Stevens an out- and-out modernist, he speaks their language with understanding, for he has an imagination, color and a firm sense of design which the modern ists insist upon. The later landscapes, especially the University picture, have gained an intangible something that m eht be called grace. The Great Smoky Mountains is semi realistic, with a fine rhythmic pattern worked out in melodic blues and greens. . . Reproduced in the art gravure section is a painting of a scene from the Great Smoky Mountains of Tennessee, which has just been presented to the University of Cincinnati by the artist, William Henry Stevens, in memory of his brother, the late Clarence Dimick Stevens, who wag professor of English at the University. Willian Stevens, now of New Orleans, on the faculty of the Newcomb School of Art, received his training in the Cincinnati Art Academy under Vincent Nowottny and L. H. Meakin. From the very first Mr. Stevens evinced a talent for landscape paint-. ing and was greatly encouraged by Mr. Meakin. It was the Ohio Hill from Cincinnati to Vevay that first attracted him and he gave always a colorful and charming interpretation. After leaving this vicinity, the swamp land and the cotton plantations of lower Louisiana were the subject scenes in the pictures which he exhibited in his one-man shows from coast to coast During these years his love of mountainous country sent The most extraordinary exhibition of gorgeous Gainsborough portraits and landscaces will open May 1 at the Cincinnati Art Museum. In this exhibition we are to have vivid glimpses of the flower of English society and many celebrated beauties of the eighteenth century. We may see portraits of people who have made English history and people who were famous in the arts. We will be able, through the eyes of the im mortal artist, to ascertain how they dressed, looked and postured in a neriod of extravagant dress when men wore flounces and satin breeches and velvet coats and women wore voluminous skirts; in an era of hair dressing which reached its height of pomposity in a towering wig, pow dered, bewigged and bejeweled ac cording to the styles set by the lead ers of the smart set in the ranKs oi the nobility. Gainsborough, like Reynolds, painted all of them, sometimes many times, but with a more decisive reading of character than any of his contemporaries. Writers inform us that Gainsborough, with. a few exceptions, did not make preliminary drawings of his portraits; the composition had to wait until the sitter was at ease and then, after bright sallies back and forth, the artist caught what he wanted and then he would rapidly sketch in the posture and general movement; he had a discerning eye for the right composition and an intense appreciation of the sitter's grace of movement. For that reason hi3 portraits rarely seem artificial; they are natural, beautiful and ele gant, as befitting the age. Many if not all of the portraits, which will regale us on the evening of the opening of the exhibition :.iave originally- decorated the halls of royal palaces or the great houses in England. Surely they will bring with them some of the perfume of an age in which Gainsborough instinctively perceived the true essence, the beauty and all of its poetry. In this garden of art one may flutter from one to another, pausing for a moment only before some particular blossom. By a piece of good fortune, through the generosity of the late Mr. and Mrs. C. P. Taft, the Institute of Fine Arts now owns Gainsborough's por trait of one of the celebrated beauties of the day and which will be loaned to the display; it is a charming likeness of the Duchess of Gloucester, the lovely Maria Waldegrave, who, left a widow by her first Hus band, the Earl of Waldegrave, married in 1770 the Duke of Gloucester, though the marriage was kept secret from the King until 1772 for the reason that he, like the Duke of Cumberland, had married out of royal blood. Thus Maria became the sister-in-law of George III., aunt of George IV. and grand aunt of Queen Victoria. By way of diversion we mention that Gainsborough stood in high favor with both George III. and the royal family and George, Prince of Wales, later George IV., although it Is said there was great jealousy be tween the two houses. William Henry, the husband of Maria, was created Duke of Glou cester and Edinburgh by his brother, George HI., who banished him from court when his marriage to the lovely Maria became known. She was the daughter of Sir Edward Walpole and Dorothy Clement, spinster, wno is said to have been a milliner's ap prentice. Their only son, William Frederick, succeeded to the title and married his cousin Mary, a daughter of George III. According to definite information Maria was seven years the senior of her husband. Her con nection with the Duke caused seri ous trouble at the court, and the Royal Marriage Act, to prevent unions of this kind, had been passed only after much opposition in the snrine of 1772. The King was not notified of their marriage until September of the same year and, it is said, had the act been retrospective it would have rendered their union illegal. Still we learn that after Maria was baptized by His Majesty s warrant to the deputy Earl Marshall, he was to have the same pre-eml- nency and precedency as the daugh ter of an Earl of Great Britain, .tier first marriage to the Earl of Waldegrave, we are told, was largely brought about by her celebrated uncle, Horace Walpole, who stated with reference to the match that "for character and credit he is the first match in England; for beauty I think she is; she has not a fault in her face and person and the detail is charming; a warm compac tion tending to brown, fine eyes, brown hair, fine teeth and infinite wit and vivacity," which was a most delicate compliment to a lady who afterward disputed the prize of beauty with the celebrated sisters Gunning and Georgiana, Duchess of Devonshire. Our Duchess of Gloucester sat to Reynolds several times and was also painted by Beechey, Hopner, Humphrey and Richard Cosway, the miniaturist, and in quite modern times, it is stated, a lock of delicate golden brown hair with a ticket bearing the name of Maria, Coutess of Walde- crmvp. was found in fair josnuas o ' nncket book. The nortrait of Lady Blackstone of the Edwards collection Is one of an other English beauty. She was tne wife of Sir William Blackstone, the famous writer on legal technicalities, oanor.tnllw well-known for his com mentaries. The portrait of Lady Blackstone is one in which Gainsborough took evident delight; the tone of the whole, like that of the Duchess, is extremely beautiful and has the appearance of having been painted with absolute directness, without hesitation or pause. The touch in the portrait of the Duchess is light and feathery Gainsborough's typical handling. In both portraits the dress is indicated with skillful brush strokes and bears the stamp of the master's hand. We learn that the portrait of the Duchess of Gloucester was originally a full length portrait and has since been cut down to klt-kat size. The following are a few important incidents and dates in the life and work of Gainsborough, which It will be well to keep In mind when -A l " Q If lljljj Pf''m ''''' I t iiT?,.i L - I &E7TY 'cJANE. Pegwld -Groom? a matter of fact, does not belong to any specific period and certainly not to the time in which he happened to live out his earthly life. His "Christ Stilling the Tempest" is a great vision, done in his most characteristic manner, a manner which combines genuine inspiration with an almost labored working out of the theme. It shows his constantly recurring sailing boat with its sail swelled by the wind and standing out in silhouette as a large, dark form, magically lined by a stripe of glowing light against the sky. It glides over the waters, which are dark and threatening, except where the boat forces its way, surrounded by a super-earthly light. Three figures can be seen in the boat, two in the bow, the taller of the two being the Savior, His head surrounded by a luminous halo which looks like a heavenly brother to the sun standing higher up in the sky and shedding its light over the scene. This work occupies a unique place in this unique American artist's Oeuvre. Besides it, mention may be made of a fine Blake-lock, and also of a dreamily beautiful Inness of the year 1893 called "Florida Pines." Unusual because of its place is also an exhibition of landscapes shown at the Arthur U. Newton Gal leries by a contemporary American painter who died only recently. These yk PqoR!1E7Jeqemiajl& fox 'boQittam wme (.WAS EXHIBITION C. R. W. NEVINSON painter A. BARNEY SEALE sculptor f at the LEGER GALLERIES 695 FIFTH AVENUE Events In Art Circles CINCINNATI ART MUSEUM Loan Exhibition of paintings by Gainsborough during May. Loan exhibition of Callot etchings from collection of Mrs. James H. Perkins, April 20-May 16. CLOSSON'S GALLERY Exhibition of etchings by Levon West. Water color paintings of New Mexico by Alma Knauber, May 4-16. TRAXEL GALLERY Exhibition of Piazzi San Marco etchings by Duveneck. Exhibition of prints by important contemporary American etchers, April 5-May 2. Exhibition of portraits in black and white by George B. Shepherd, and oil paintings, May 4-May 18. THE LITTLE GALLERY Exhibition of recent paintings by Valentine Vogel, May 1-30. ' THE MARY - ALEXANDER GALERIE INTIME Exhibition of water colors by John Whorf open to the public Wednesday, Thursday and Friday afternoons of each week during April. SCHOOL OF APPLIED ARTS, University of Cincinnati Annual Spring Exhibitic of student work. Swift Hall, April 27 to May 30. the doors of the Museum swing open on this record-breaking exhibition. 1727 Birth of the artist at Sudbury in Suffolk, England. 1738 His first portrait Tom Pear-tree a cut out portrait which, placed on the wall of his home at Ipswich attracted the notice of Philip Thickness, who afterward became Gainsborough's valuable friend. 1742 Went to London, where he studied with Gravelot and Hayman. 1745 Returned to Sudbury; met and married Margaret Burr, said to be the daughter of the Duke of Bedford. Painted his first notable land scape, "The Great Cornard Wood." Removed to Ipswich. 1747 Met Joshua KIrby, a painter of coach scenes, who afterward became drawing master to the Prince of Wales, later George IV. Birth of his daughter Mary, who married his friend, Fisher, the Hautbois player. 1753 Introduced to Governor Thickness. 1754- 5Painted the portrait of General Wolfe. 1760 At the instigation of Governor Thickness, removed to Bath, England, then at the height of its glory in the latter days of Beau Nash. All England came to this great watering place; here the artist made friends among the musicians, actors and other celebrated people who followed the nersuits of art. Gains borough, unlike Reynolds, never had the social gift; ho found his greatest pleasure among those who spoke the language of the arts. 1761 Sent the portrait of Mr. Nugent to the exhibition of the Royal Society of Artists in London. 17R1 -3 Painted the portraits of Elizar Linley, daughter of Llnley the TJlncllsh sinE-ina- master, wno was herself a celebrated singer and who afterward gave up her career to marry Richard Brinsley Sheridan, author of "Tho School for 3candal." It was at the Linleys that he met Garrick and Bach and Abel, the vlloa-di-gambist and Giardini the violinist and Fisher the hautbois player, Quin and Foot the actors, all of whom he painted the same year. This same portrait of Fisher, Mary, his wife who was mentally unbalanced, presented to the King after his death. 1764 Painted the portrait of the future Duchess of Devonshire as a child. 1766 Painted the first of his five likenesses of David Garrick, the celebrated actor. 1767 (or 8) Painted the famous landscape, "The Market Cart." 1769 Foundation of the Royal Academy and first exhibition to which Gainsborough is listed as having sent a large landscape and the portraits of Lady Motyneux and George Pitt. 1 1770- r-Painted the celebrated BalUte 1772 Exhibited at the Royal Academy 10 landscapes and five portraits, including one of his friends, David Garrick. 1774 Removed to London; rented a part of the house of the Duke of Schomberg in Pall Mall from its owner, Beau Astley, a portrait painter, who lived in the central wing. In 1781 part of the Schomberg house was occupied by tho notorious quack, Dr. Graham., All London crowded to hear his lectures on health. His panacea for all ills was the mud bath; footmen, resplendent In liveries, ushered fashionable London into the mud bath rooms where sat, all powdered and bewigged, the doctor and the fair Emma Lyon, afterward Lady Hamilton, up to their necks in mud. All of Emma's charms were discreetly hidden under the coating of mud. Here she was known as the rosy goddess of health. It was in this way that Romney fell under her spell. Writers declare these lectures with their scandalous illustrations of loveliness given at the very door of Gainsborough must have attracted his attention. Musidoro, now In the National Gallery, is said to be a portrait of the fair Emma and it is the only study of the nude that is known to have been made by Gainsborough. 1774 Gainsborough was summoned to Buckingham Palace and painted the first portrait of George III. 1778 Marks the date of the famous lost portrait of the Duchess of Devonshire, now in the Morgan collection. 1779, the year In which some authorities say that Gainsborough painted the famous "Blue - Boy;" others declare that it was painted during his Bath period. 1781-4, painted tho group of the three elder Princesses, about the hanging of which Gainsborough quarreled with the Royal Academy. 1784-5, saw Gainsborough painting the portrait of the Prince of Wales and Mrs. Fitzherbcrt, who contracted a secret marriage with the Prince. Also the portrait of Lord Randor and Sheridan, grouped in a boat. 1585-6, portrait of Maria Walde grave and the celebrated actress, Mrs. Siddons, Mrs. Yates, Pitt, Fox, Sheridan, Hon. Mrs. Graham, Lady Mulgrave, Ladies in the Mall, St. James Park. 1787, Gainsborough foretold ' his death to Sheridan at a dinner at Sir George Beaumont's. 1788, Gainsborough attended the trial of Warren Hastings at West minster, there took a chill and died of cancer of the neck on August -2 of the same year. As he died ho said to Sir Joshua Reynolds: "We are all going to heaven and VanDyck is of the. company. gifoout XIV By FRANCES M. SMITH (Eleanor Lexington). Langton Family. In 1646. WHEN IN NEW YORK By DR. FRANK E. W. FREUND. Jamiljk m T IS a pleasure to renew acquaintance with the STj works of Albert H. Thayer "3U in a representative show of his paintings at the Macbeth Galleries during the latter part of April and first part of May. This serious worker, a constant student of his craft and an inspired artist, was happiest when, as his subject, he had to deal with a single figure, generally that of a young girl. In her as for instance in "Alma" he saw the nearest approach to the angelic, the superhuman, the "eternal feminine" of which Goethe speaks in tho last verse of his world drama "Faust." Where smaller minds would have turned the pure girlish features into a "perfect angel," he endows them with majestlo forms and heavenly earnestness, with infinite pity and a kind of wistful understanding of human weakness. But amongst all these eloquent witnesses to his art there is one a landscape which shows him at hi3 greatest height. It is a large work in size as well as in inner weight. There is a display of works by Matisse, Picasso and others at the F. Kleinberger Galleries, home of French, Italian and German primitives and the great Dutch art of the seventeenth century and, later on, at Dudensing's, where the most advanced guard of young Americans find shelter, a show of the older American generation such as Blake-lock and Albert P. Ryder. The exhibition at the Kleinberger Galleries goes under the title of "Corot To Picasso" and starts right off with one of the finest little Corota to be found anywhere, called "La Porte d'Arras." It has all the lyrical beauty which for so long has made Corot a veritable god to many collectors, but it also has the structural strength which, in his best moments, ljfted Corot far above the merely lovely. Then there are Cour-bet and Renoir, Degas and Toulouse Lautreo 4n characteristically strong, sensuous and sinnous works; also a mystical canvas by Redon steeped in glowing colors and an ingratiating "Mother and Children" by Mary Cas-satt. Then we come to tho moderns, the disturbing but stimulating cohort of fighters in the new art battles; Modigliani, Bonnard, Matisse, Deraln and the others, as many distinct personalities as there are names. The most important picture of this group is Picasso's "Marriage of Pier-ette," apparently dating from his "blue" period, for the entire canvas is filled with a mystical blue out of which the shadowy figures, arranged as in a seance around a table emerge like pale ghosts, Inhabitants of another world. J At DudensiiiK's there Is the Ameri can mystic, Albert P. Ryder, who, as gyleshtre, Scotland, ftttfra HE LANGTON FAMILY, of New England, wa3 founded by George Langton, who was at Springfield, Mass., He died 30 years later at Northampton. The name of his flrtt wife is not given. On June 29, 1648, he married Hannah, widow of Edmund Haynes. George Langton had formerly been at Wethersfield, Conn., where, or in England, he had several children by his first wife. A daughter, Deliverance, Is the only one mentioned, and she married Deacon Thomas Hanchett. After his death she became the wife of another deacon, Jonathan Burt. The Burts, of Massachusetts, were pillars of the church and salt of the earth. Ten years after George Langton andthe Widow Haynes were married they moved to Northampton. Their house lot may be seen on the map accompanying Trumbull's History of Northampton. A daughter, Hannah, was born to Deacon Hanchett and wife. On April 4, 1678, she became the wife of Ser geant Samuel Loomis, grandson of Joseph Loomis, founder-father, who was a prosperous woolen draper, from Bralntree, Essex, England. He came here on the ship Susan and Ellen, 1638, and, with his wife, Mary White, made a home at Windsor, Conn. Hia house has been in the perpetual pos session of the family down to the present time and is probably the old est one now standing in Connecticut, which is still owned by descendants of the pioneer builder. Joseph Loomis was Deputy to Court. His son Sam uel had the rank of Lieutenant, and Sergeant Samuel Loomis, husband of Hannah Hanchett, can also be do pended upon for colonial service, or can give help along patriotic lines, for each of the lineage who seek en trance to patriotic societies. Hanchett Is a name of many varia tions: Hantchat, Hanshett, Handsett, Hansett. These variations are found in town records, and are doubtless due to the vagaries in orthography of Town Clerks. Loomis published records abound. Sixty years ago a history of the family was Issued and 10 years later de scendants by the female branch of Joseph Loomis had their records In a book of two volumes. Still another genealogy, with illustrations, maps and facimiles, of over 800 pages, treats of the Joseph Loomis branch. ' The Langtons also took time by the forelock and valuable books to consult are the New England Historical and Genealogical Register, Vol. 9; Hartford Probate Records; History of Springfield, by Green & Burts; First Century of Springfield, Vols. 1 and 2; Bolge's Soldiers of King Philip's War; General Register of the Society of Colonial Wars. The Langton armorial bearing, herewith pictured, is quarterly of two. The first and fourth quarters, Langton; the second and third for the related family of Mumby. This coat-armor was also borne by ancestors of the Beatty family of Maryland. The Beattys also have their published records. One book, issued in 1911, is entitled The Ancestry of John Beatty and Susanna Asfordby, With Some of Their Descendants. In ad dition to American lineage it gives royal descent from Plantagenet Kings and lines from many armiger- ous English families. It is illustrated with nearly a score of coats of arms. Beatty figures as Beaty in some records, also Beatie. The last form is found in several Southern genealogies. In the South, connected families include branches of the Lewis, Edwards, Taliaferro and Alldread families, also the Grahams. The last named is of the patriotic North Caro lina family, which numbers among its members Generals George and Joseph Graham, of Revolutionary fame. Their brother, William, was one of the signers of the Mecklenburg Declaration of Independence, and a sister was the wife of General Griffith Rutherford, of the Continen tal army. The founders of the Graham family- here were James and-Rlchord Graham, brothers, from Ar- landscapes are the work of Alexan der Scott, a gentle soul who, wher ever he happened to be, whether in Easthampton, Long Island, or In far-off India and the mysterious mountain kingdom of Tibet, saw the freshness and loveliness of spring and tried to recreate it on his canvas. In an unfinished one he endeavors to capture the glory of the "Pearl of India," the famous Taj Mahal, as it raises Its dome and minarets in a rosy mist above the surrounding water. At Vernay's against old paneling hang two splendid flower pieces by George Jacob Johannes Van Os who, in the nineteenth century, successfully revived the glory of old Dutch flower painting. The Grand Central Galleries decorations of a very special kind are the Oriental still life paintings by H. Pushman which are shown at the Grand Central Galleries against a softly colored tapestry background, a Chinese idol is depicted and next to it in a vase a drooping flower, generally a rose or a tulip, all united in tender gem-like harmonies. Several prizes awarded to the artist for these creations testify to the consummate skill with which they ars fashioned. At the Milch Galleries can be found "Americans By American Artists," being portraits of well-known people by some of the best-know.n portrait painters of the day. Mention may bo made of Wayman Adams's "Robert Underwood John-Eon," Albert Sterners's well-composed, spirited and powerful "Miss Vivlenne Giesen" and Garl Melcher'n "Double Portrait," done some 20 years ago, which shows the artist and the German-American collector and art lover, Hugo Reisinges, looking at a painting; In its unpretentious naturalness this is a very good piece of work indeed. Another room contains nice friendly likenesses by Ferris Connah. The first "spring exhibition" is on at the Marie Sterner Galleries. It comprises a carefully selected group of 25 paintings landscapes, figure studies, flower pieces and still life by artists of different nationalities, amongst them Edy Legrand, Pedro Pruna, S. Simkhovitch and that vigorous Belgian painter, Medard Van-burgh, who is represented with a number of beautiful still life and flower pieces. Although the season is already so far advanced, a new auction firm is starting proceedings under the name of the National Art Galleries, Inc., with headquarters in the handsome Rose Room of the fashionable Hotel Plaza. Its first offering is a collection of important paintings from various sources, Stockholm and Geneva amongst them; several of the paintings are of very fine quality and great importance such as to mention only one or two Michael Sweerts's "Artist's Studio," a very rare work; the "Head of an Arabian Sheik," by Tiepolo; Reynolds's powerful portrait of John Barker; Hi Van der Burch's "Interior of a Dutch Room;" Lucas Cranach's "Head of a Man" and Paris Bordone's "Man With Violin." Thus it will be on of the few important suctions of old masters held during the season, which has been strangely devoid of attractive picture sales. m THE NEW YORK GALLEE JOHN LEVY GALLERIES PAHSTIISGS 1 East 57th St, New York. Fhrich I GALLERIES PAINTINGS Xa PACTy'-CTDCCT NEW YORK NEWHOUSE G -A. m x. A A C? PAINTINGS ISlew York 11 EAST 57th STREET St, JCouis 484 N. KINGSHIGHWAY F. KLEINBERGER GALLERIES, Inc. 12 East 54th St, New York EXHIBITION COROT TO PICASSO v INTIL MAY Snd TJ

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