The New York Times from New York, New York • Page 70

THE NEW YOBK TIMES, SUNDAY, APRIL 1C09. MEWS AR1 A OM-Ev' 1 A ROAD OT? JP THE Phe Subtle pictorial Art of the Chinese as Shown in the Exquisite, Porcelains. Brought to America. ALTHOUGH Chinese porcelains have found their stanchest ad-" a mlrers among American connoisseurs. Chinese pictorial art has been but lit tie.

appreciated here, for the excellent reason that it has been but liitle known. Prof. Hirth of Columbia University Iras, called attention to extreme reticence of the Chinese on the subject of therr art. and declares that even on Chinese soil dealers and owner of art treasures will -withhold their best scrolls from the eyes of the lusty and he hat further noted that th practice of forging: ancient works of art in China has no punishment assigned to it, and the only sympathy the native public v.ill show for a victim of such forgery is a laug'x, so that the path of the collector is hedged around with difilculties and the only safe Justlflcater for his preferences is -the support of the, plctui to his taste. In the Boston Museum of late years, however, have had opportunities of eeelng-flne examples "of Chinese art classified and described by Mr.

Oka- M. Co. invite attrntlon their earaUy selected collection PAINTINGS ni Water Colors of various scboo! Old English Mezzotints -and Colored Sporting Prints 2 355 FIFTH (Cor. 34th St), N. Y.

I Tmdan, 13 Old Bond St. fori. 23 Plac Yendome. SCOTT FOWLES CO. Dealers ia High Class Paintings OLD AND MODERN SCHOOLS Careful attention given to the cleaning and restoration of valuable paintings 295 Fifth Avenue Between 30th and 31st Streets NEW YORK.

C. KLACKNER Paintings and Water Colors KING POINTS Printed in Color. l.imit?d In Edition. Appropriate Easter Gifts. ifisi your art dealer for them or send or illustrated catalogue.

7 West 28th tr-ect, New York. 20 Old Bond Street London. Arthur Tooth Sons (TEMPORARY GALLERIES) 420 FIFTH AVENUE, New York Have now oh view PAINTINGS by the Barbizon, Dutch and English Masters. Original Etchings by Hedley Fittorv Axel Haig, M. Synge and others.

THE EHRICH GALLERIES The Home cf "Old masters 7 Fifth Avenue and 40th Street EXHIBITION of SKETCHES and PORTRAITS By C. P. dRUPPE ART GALLERY, 933 Sixlfi Avesn FROM ATRIL 5th TO tBtlu FICTwEE FRAMES, ARTISTS MATERIALS Trlrphenr: SS4S Colnmbne. AINSLIE foul ONE WALL STREET. Cor.

Broadway. M. T. PAT NT IN GS by GEORGE INNESS A. HL WYANT J.

FRANCIS MURPHY GEORGE. H. BOGERT and other represenJave American Artists. Eotrtnce from Wall Street jtbvvy itition (Uptvn Side.) kura-Kakuzo. Bat we have had tio such chance as that offered by the exhibition of Prof.

Isaac Taylor Headland's collection for the study of Chines pictures by old. and modern masters. The collection was shown a coupio of weeks at the Century Club, and may be seen this week and next In the galleries of the Pratt Institute Library Building, Ryerson Street, Brooklyn. In his very interesting: arid informing preface to the catalogue Prof. Headland traces the develoDment of Chinese art from the beginning: of our era to the present time, finding in It curious resemblances to the development of Western art.

i Contact with religion at the time of the Introduction of Buddhism Into China strongly affected it, and the great artists of that period aa in the case of the Italian masters won their reputation by decorating the" temples Of their workshop' The Taca dynasty (613-905 A. Prof. Headland compares to the Elizabethan age of poetry, music, literature, and art; and during this period the three Important schools of Chinese art were founded, th school characterized by a good deal of color, the Southern school, and the Japanese school. A The Sung dynasty, which lasted for three centuries, marks the finest expression of these schools and the flowering of the noble emotional art which has made so deep an impression upon Japanese minds, and through Japan ujkm the art of the West In recent years. Elevation of the mind, exclusion of the trivial, and emphasis upon the essential were important elements in the artist's ideal.

The expression through art of a mood or an emotion was the -goal of the Chinese painter, ho sought by his work to liberate the mind and bring it Into the presence of nature by the interpretation of the Inmost spirit of natural objects instead of by the repre. sentatlon of objective reality. In place of the bright colors and naturalism of the pre-Sung period, the Sung painters showed a preference for the severity of monochrome and for symbolic or idealistic treatment of their subjects. In the Ming dynasty there was a strong effort on the part of the better painters to combine realism and ideal-Ism without asking undue sacrifice of either element of art, and this period Prof. Headland, lit accord with Prof.

Hirth, ranks very high, finding In It some of the most attractive examples of Chinese art he has seen. Th'e present dynasty contains six great names, the four Wangs, Wu, and Tun, and their" pictures are said toacommand as high a period as those of the, old masters. The materials used In Chinese paint ART NOTES HERE AND THERE. J. Carroll Beckwith, who as President! of the old National Free Art League led the fight for free art for many years, is now out for a fight In the interest of uc American artist against that provision In the Payne Tariff bill making works of art twenty years old or more exempt from duty.

Mr. Beckwith favors a fifty-year limit, and urges that the Payne bill should be amended for the protection of American artists, as be considers it a bread-and-butter question with them, and that their welfare and -prosperity will be seriously Involved if the bill should be enacted. Regarding the free art movement and the Injury the enactment of the Payne bill would inflict upon the American artist, Mr. Beckwith said last week: "Thirty years ago. about the time the duty of 30 per cent, was placed on works of art.

a number of us, recently landed from "our studios abroad, enthusiastically took up the -campaign for removal oy duty on all art works. "The confidence we had in' our own country, the belief In its loyalty to the native American who brought back with him the knowledge and the honor he had obtained from the Schools of Europe, convinced us that the free Importation of all art works would be in no way detrimental to his material prosperity, and certainly would add to his opportunity for development and continued progress. TnU conviction was at that time very generally entertained, and there were few among our painters whose ames were riot present on the roll of members of the National Free Art League, of which 1 had the honor of being President. We worked very earnestly and made many trips to Washington, but the spirit of protection was so strong and the ml-taken belief that works of art were only luxuries, rendered our efforts fruitless un-tl the Wilson bill was enacted, when for a period of about eight years works cf art were placed upon the free list. During this period many of our native painters became strongly aware of the real indifference of the public toward the American artist and his work.

The vocations of illustrator, decorator, teacher, and writer -were embraced by many of them for' their support. This virtually has been the condition among our artists and to a very large extent is the same today. "Men of great talent here, who have gained honors and medals abroad, are disregarded by our collectors and so-called amateurs. Realizing the relative failure of easel a feeling has' grown up among our' native painters 'that it would be wis to approach gradually the entire abolition of duty on works of art. From my observation and Intimate acquaintance with men in my profession I have been forced, in some measure, to change my views.

The removal of the duty on. all works of art which have stood the test of time Is favored most unanimously by the artists, but an impost should still be maintained upon contemporaneous foreign productions. In view of the very great cost of production, exceeding almost by half that of Europe, as exemplified la rentals of studios, cost of materials, and models, the American artist stands at a great disadvantage in relation to his brother re-j siding abroad. "In the recent delegation which kp pearcd before the Ways and Means Committee in January to urge the reduction of the duty on works of art. I found myself the.

only artist. My urgent efforts with the delegation of gentlemen repre senting delegates from muieums and ama- teurs to prevail upon tr.em to adopt the admit free ing have been much the same as those used in early fresco painting, the colors, Chinese inlc, or pulverized minerals, being mixed with water and Prof. Headland calls especial attention to the fact that the point of view; of a Chinese landscape painter Is taken from" a hilltop Instead of from the level, as in Western landscape painting, and his kakemono subjects are three-fourths or four-fifths land and the remainder sky, giving an Impression of falsa, perspective to Western eyes. In the make-mono, however, a scroll the reverse in shape of the kakemono, the point of view is the same ours. Without dwelling at length upon, the subject.

Prof, Headland assumes, as do all care-1 Palntln ful students of the subject at the pres ent time, a complete theory ot in Chinese painting as accurate as our own although based upon different conventions. Some such preliminary account of the Chinese method and ideal Is absolutely necessary to make the now. oh exhibition comprehensible to the general public. With a very little preparation, however, their great beauty of execution will impress Itself upon even the uninitiated. Sung landscape by Ml Fel.

an eccentric artist who lived from 1031 to 1107. is a composition of dark trees and of duty only works of art created prior to the date of was unavailing. I am aware that in this attitude I represent to-day a very large majority of my fellow-artists. i Portraiture mural decoration, and other channels of artistic endeavor outside of the painting of purely, easel pictures have become necessities with, many of us. and I find very few of those pursuing these lines who are really in favor of.

a total abolition of duty on works ot The twenty-year limit in a- measure answers this objection, but I am quite sure it does not satisfy the majority. This, I feel, a bread-and-butter question and by no means a theory. It is the welfare and prosperity of my. fellow-artists here that have led me to this change of view, deeming It, after long experience, necessary. "I consider 'the Payne bill capable of amendment in this regard, and I think on investigation it would be found that such a change to the fifty-year "limit would meet with very genuine approval among those of my profession who are to-day supporting themselves solely through the medium of the brush.

In the outer room of the Knoedler Galleries are a number of water colors by Fernand Jaoln, young Frenchman who has among the honors to his credit a first and second Grand Prix de Rome and a "Bourse de Voyage frpm the Salon, His work is -largely devoted to street garden and park subjects in Paris, Belgium, Brittany 'and other places of pictorial appeali His studies of the Paris streets. In particular, have: an accent of local charm which only a Frenchman can achieve, apparently, in transcribing Parisian In the "Place de la Soncorde: A Rainy Night the green lights of the omnibuses, the flickering of white" and green on the falling water of he. fountains, and the gray, sheet of the rain are delicately indicated without undue emphasis on color or form. Les Grande Boulevards, Paris," also, is made to convey the sense of crowded pavements and animated groups of people. There are old women with their pushcarts filled witb vegetables and flowers, two-storied buses and fiacres draf by miserable horses, the gray soft atmosphere of the Parisian Spring and bits of vivid color discreetly placed, where they glow like bright stars through! the pale mist.

There' Is a Winter scene in Paris with the snow lying on the roofs of a church and adjoining-buildings, and there 'is a charming little study of the Place Royal in In the studies ot figures a weakness, of -drawing Is felt -and? there Is something more to be desired of volldity and firmness in the walls of the. buildings which, are well constructed, but the artist' has felt in each lntanre the genius of place the quality in a drawing ia no less rare than entldSg. Three paintings by Colin Campbell Cooper, one of which Is still unfinished, may be seen lit the artist's studio, to better advantage than In the mixed society of the xhlbitton walla, The picture of Broadway at Times 8'juare, showing the Times Building and the Irregular roof line of the buildings south of It on Broadway. Is in oil color and delightfully warm and rich in tone. The yellowish while of the building under the sunlight Is relieved against a billow ing cloud that Is drifting across a Ish blue'sky lq the wake of a scudding shower that has lft the streets wt and rf 1 sharp mountain austere and solemn in sentiment, with" a majestic serenity of design that woos the' mind to contemplation.

a later picture, "Mongols "Hunting." by Chao Meng-Fu, a quite contrary Impression given. The scene is one of activity. Half a' dozen Mongols on horseback are hunting, four with bows 'and arrows, one with a ball and, chain, and one with an eagle or hawk on bis The, horses and the figures of the men are full of movement and the lines of the costumes are as suggestive of motion as Botticelli's draperies, if not more so, and the little page of human history Is written in a lively Idiom. There is still, how- Herring Boats Waiting for the Tide. by Charles p.

Orupp on Exhibition at ths Powell Gallery. a touch of that sublimity Inseparable from nature in the mind of a true Chinese artist. The distant hills, olive gray In tone, show It. and the reserved color scheme, with Its faint pinks and greens, is of the greatest refinement. The Torn Fan," a painting of the sixteenth century.

Illustrates a scene from a popular novel of the period. Then, as now, the homes of the. rich were considered a happy subject for description by writers of fiction, and the accent of Irony in "the picture la not to be mistaken. The heroine of the scene is HI, and thinks the sound of tearing fans would comfort her; the hero, who accidents of color, "the green roof of the Hotel the blue signs of the shops, the line cars, and the mottled side walls of the buildings, are managed with an Intuitive sense of harmony that permits the "use of many strong hues without loss vf ton. The Columbus Circle is In water-color and offers another example of bright, bold colors held in tone The per- I spective Is interesting, as the painting was made from the fifteenth story of one of the tall buildings looking and, with the exception of one apartment house arid the splrs of a church, all the surrounding buildings were seen from above.

These serious, vigorous studies of different localities in our large cities will one day have a distinct historic Interest added to thlr pictorial interest. and the future critic will comment, no doubt, on the extraordinary plcturesqueness of city streets in the early twentieth century. A very beautiful still unfinished, ot Cortlandt Street, near the Pennsylvania Station, crossed by a little-bridge and havirig an aspect not unlike the narrow passageways of Venice, shows how simple it is to find the picturesque near at hand if one has eyes- for it. The irregularity of form and the variety of color in these downtown streets under the reddish, fog that often, sweeps across them in the early morning, unite In an Impres sion of charm which has been rendered by Mr. Cooper with mingled force and jmo one nai more raltnruily sought the beauty of his own country as material for art after a thorough initla-tlon ln the opportunities afforded by other countries.

At the Bauer-Folsom Galleries, until April 10. is an exhibition of the paintings of EmU' Carlsen which the gallery visitor ia an unusually hlgh't pa strange fluctuations in prices of degree. Nearly all the pictures shown are oncei prized canvases, and. while accounts au marines or rare it is difficult to. translate into words the impression made upon the mind by' such a canvas as the Moonlight on Kattegat." but no one who has felt the majesty ot the vast sky, in.

which clouds have gathered luminous andsplendid about a pale moon, will miss the noble, suggestions of. this Incomparable sky picture. water-laps gently beneath the clouds; a -blue liquid element, but It Is upon the skytljat the attention is riveted. To examine the method is to see that the palette knife has often been used to flatten the paint, and that the pigment in places is drawn over, the canvas, but nothing accounts for the result except a vision sensitive to the most august aspects, of nature and a will concentrated upon reproducing their essential" character. One Is tempted to.

speak of an Imaginative 'vision, since it ir only those pos-! sessed -of powerful Imaginations who can sea so. clearly what is real and actual; 1 but it is much nearer the truth as the painter knows It to speak of 'the superior realism of a picture like this "Moonlight on Kattegat." The filmy texture- of the clouds ope across the other and their grouping in forms of ghostlike ar- chlte.ctiire Is well' enough known to every i watcher of the The fluent vapor of which these visionary shapes are made, with its readiness to shift and change and utterly dissolve in a moment or so of time. Is reproduced with startling veri-1 similitude, the color of the blanched moon- 1 light, the -radiant, moist atmosphere, the I great white orb hung like the lantern of aj temple- within these stately fUnts of mist, all are evoked with a severe devotion-to reality, but also with a profound appre-, elation, oi the mingling of order and freedom, the wise discrimination and selec- tion demanded by art. As a matter of fact, of course, th most moving and lm- cf r.t'-- in. -sot I.

is a Duke's son, proposes to rob a second tfirl of. her fan in order to prolong the pleasure of thVVnvaUJ. but Is met with rebellion. The movement in this drawing also "Is 'lively, and the color scheme is very harmonious, though less delicate than in the earlier work, and the languid expression jot the pampered Invalid is cleverly represented. A makemono or horizontal scroll of the sixteenth century Is over ten feet long and represents the panorama of the Springtime In village and country; mountains and rice farms, and peach trees in bloom, men riding donkeys, boys leading cattle, women at: their spinning wheels, and priests sunk in meditation as vthey saunter among the trees.

The areen arid gold of the mellow color and the grace of the expressive line are delightful enough, but the romantic note is struck In place of the classic severity of Mi Fel's landscape, and we feel, so far as this one hand-jsome Iltjtle example of Ming workmanship carries us, that the high standard of the Older men has been lowered somewhat A study of a hundred birds paying their respects to the phoenix, by a woman artl.Mt of the sixteenth century, in nowise contradicts this Impression. Its realism, bright color, and somewhat excessive emphasis on details produce a conveyed' through a' synthetic and highly competent -artistic method. The Imitation of nature Indulged In' by the painters of a not too distant past was powerless to suggest the unity -of nature. The' Blue of the Ocean Is another canvas In which the rhythmic rise and fall of the 'waves, the dewy air, and the broken clouds are' seen and reproduced with a 'sense of color and form and atmospheric' distance, unusual fo find so equally developed Iti the work of one painter. Gray of the Storm" is finely suggestive of the' cold bleak character of the northern sea when a storm is gathering; and in the Skagens Odder" The Meeting of the eas," we have also both a masterly artistic creation and a record of locality to be prised for Us veracity aa well as for its pictorial beauty.

In the foreground of The Gray of the Storm men are pushing a lifeboat into the surf, and the waters boom and thunder about 'them. Th viouds are massed in the upper sky, and the light of the lower sky is pale. The subject is one that will strongly appeal to those familiar with the life of the northern sea countries. In the Venetian pictures we have clear-cut forms and blinding sunlight without excess of color, very beautiful andbrlglnal notations of a place, which needs more than any other to be perpetually beauti ful not to fall under, the reproach be- stowed on hackneyed themes The entire exhibition la on a high plane of technical merit and artistic Interest. It places Mr.

Carlsen, whose work has always had elements of great charm, in the front ranks of American artists, and for that matter of the younger artists of the present day whatever their country. The changing vogue In pictures brings of old sales with-the traditional song for which masterpieces were' once obtained read' like fary tale's, the decrement In money values of many formerly exorbitantly priced paintings must seem like an unaccountably bad dream- to those purchasers who bought in the firm conviction that they were buying on a rising market." Partly, of course, it is a change of fashion, but. undoubtedly, also. It Is certainly. In America easy to sell merely on the name attached to a picture.

The" plctuie buying." If not the general, public has learned that it would be quite possible to make a collection of pictures by artists of established fame, none of which would tempt the collector who Is also a connoisseur. If this la true here it ls.no less so in England, a country whose Royal Academy never held a picture by Komney, and which has honored with the Presidency- of the Royal Academy, the best gift. in its power, men who have lamentably, failed to maintain the reputation which gained them the honor. Recently, one phase of the turn' of the wheel has been commented on by an English observer. Posterity seems especially to have wreaked Its vengeance on Presidents Qf art institutions.

We' have seen, in the past, canvases by Benjamin West, Sir C. L. Eaatlake, and Sir Francis Grant fetch little more than a guinea apiece at auction. Yet each was a President of the Royal Academy. 'Thirteen years ago Grant's General Angerstein.

by 40 Inches, -made only two guineas, and even a crayon sketch by Sir Thomas Lawrence, P. R. of John Angerstein, founder of the National Gallery, stopped at a guinea, although five minutes afterward. It 3hou'd be stated. lil pastel of Madame Bablpu-kofl and Family rose to guineas.

too, en conception of The 7. by Jh r.ry Fusl, It. A.j I in the no.i, if net by The Sung1 Dynasty, Three Centuries', Marks the Best Expression of This School of True Mental Art vivid effect, but! the nobility of form and the far off effect so prized by the Sung masters are absent. On the other hand. -a landscape by Wang Hui.

who was born in lG32and lived eighty-eight years, is richly Informed by these great qualities and "enchanting In its sober, discreet yet glowing color Prof Headland's note In the catalogue describes the. artist as an eclectic who sought to the principles of the impressionists and the realists, a man who could "put 3,000 miles of landscapeTon a' fan" and the mast prominent of the four Wangs of the present dynasty. Prof. Hirth quotes one of Wang Hul's contemporary critics as saying that he was differentiated from a mere copyist of ancient masters by his power of developing his own style through his study of their art so as to become their equal. 'and this "th first Vmaster since the last hundred 1 Wang Hui is also the -painter of landscape background In.

the, picture called "A Visit from the Fairy Queen. From the eighteenth, century are several landscapes by Yuan Yuen, an expert pafcter of buildings, the most important representing, he pleasure grounds of Ch'in Shih-Huarig. In' this gay and 5ntnty painting It Is difficult to say which Is most, to be, admired, the delicate color In pale- reds and greens and blues on a warm brownish ground, or the flexible drawing placing each figure with Its Individuality In. Its relation to all. the other figures.

A very brilliant picture by Mln Chen of the -eighteenth and nineteenth centuries shows a Goya-like figure -of an old man In tattered garments, rendered with much the same Impetuosity of line and economy of means'; as were practiced by. the fiery Spaniard. Other especially Interesting features of the exhibition are examples pf finger painting." a method described thus: "The artist mixes his on his Ink stone, dips his finger into it, the end- pf his' finger makes the' coarse lines, while with his finger nail he makes the fine lines." There are also fine tapestry pictures, with spchrper-fections of, surface and color as put Western tapestries, however -high In grade, well into the background. And there Is one exquisite drawing of a subject entitled" "The Chinese Joan of Arc," painted In the eutline method." enly the face arid hand being modeled in tone, the rest remaining' delicately outlined. The picture has no Inscription and is given to no particular artist, but the face wears a gentle, somewhat mystic expression, sensitive, withdrawn in tender contemplation, youthfuVwith a linge of sadness, in nothing suggesting the type of a warrior maid, but sufficiently indicating a' seer of visions.

hand, of a Michelangelo, fell at a guinea, after his Creation of Eve on the same scale of scenio canvas, had brought It Is nearly sixty years since Sir Will-lam Allan. President of the Royal Scottish Academy, died. His portrait of Sir Walter Scott at Abbotsford was purchased In 1S71 at 330 guineas for the National Portrait Gallery, but In recent years the market has -spurned his historic and- anecdotic genre. The Duke of Wellington bought his Battle of Waterloo with Napoleon as the dominating figure.) but in 1S43 nobody would purchase "his larger version fwtth the Duke as chief personage.) when exhibited In Westminster Hall at the Fine Arts competition. On April 21, 1906.

a tiny panel by him. 8 by 6 Inches, entitled A Sailor Boy: Castles in the Air wan submitted at Christie's, and the first word was the last word half a guinea. The worst- was to be feared, then, on Saturday, when his Napoleon's Interview with Two English Sailors at Boulogne S3 by 63 inches, was placed on the easel. More mercy was shown." how. ever, and the bidding went as far as 15, guineas." i It is the more interesting to note this condition of the 'picture market in England Just at this time because here there is manifested a desire, possibly sentimental, to collect and preserve- every even passably good American' and in this the Metropolitan has the hearty support of Sir Purdon Clarke, who welcomes to the walls, the Museum with especial cordiality examples, of early native art.

The roll call of the great Pre-Raphaelite Brotherhood, great In aim, as will be readily Conceded by "all, apd great in achievement in some directions most of us will agree, would now furnish forth few among the living to answer to their names. In memory of one of them." the late Spencer Stanhope, there has been gathered hi London a collection of his works In oil, tempera, and water color. "Whether It be regarded as a lost cause or as a great In. Its initiative power to set in motion forces apparently disconnected with It. is perhaps more than can rightly be estimated present, a malter In perspective.

That It will live in history is certain, and though the movement itself is dead while yet some of Its original members still live, the chief. personages concerned 1 in its foundation already have about them and tbe history of their lives something of the glamour of the legendary. 4 Spencer Stanhope was not of the spiritual kinship of those first, ardent Brothers; he had none of the intensity of Rossettl, and he was. Indeed, not only a devoted admirer (but a frank Imitator, of Burne-Jones. and was content with him to substitute the study of mediaeval records, literary and pictorial, for that-passionate search for; the spirit animating the medlaevalists which -was the ideal sought by the B.

in their first revolt from conventions of their time. And so. following Burne-Jons. and believing that thus better than any otherwise he was expressing his devotion to the Ideals and the art of th Florence of the fifteenth century, he contentedly becams the shadow of a shade and never knew It. The preface to the catalogue of the Stanhope exhibition Is by Mr.

De Morgan, who, beginning his artistic life a B. in aim and a potter by occupation, has In this new carved a niche for himself not. unworthy of the Brotherhood, but quite of his own Mr. De Morgan sees in modern photography, a menace to the erdirsary who aepen.i-i largely cn -a S-r t's We have poorly observed all these de! lightful paintings if they have not spoken rt5 Xih of the true and deep E. tentloa of Orjental art, which is to use' the facta of nature as a rceang to the expression of our human souls.

If we have not felt the subjective quality, the poignant eharm, of an art thai seeks to express tbe refined and purl-fled, spirit of nature, in harmonies cf color and rhythms 1 of Une, we hate missed the Chinese conception. No on has -exrressed- this-Ideal, so differeA: from, our own, more sympathetica! than Mr. -Laurence Binyon," when hi writes of the art of both Japan iRr" China i "Not the glory oT th ktfe hurriah-fOTrn. to Western art the r.o blest' and most expressive of "symb not the ptoud and conscious asseniyj of human, personality; "but. instead oil, these, all thoughts that lead us ou from ourselves Into the universal Vmj bints of the -infinite, whispers from sW cret sources mountains, waters, mU aj flowering trees, whatever ielis of powt ers and presences mightier ourt selves; these the themes dwelt upon, cherished, and preferred.

Anglo American Fine Art Go. i J. D. Ichenhauser President 523 Fifth' A venue Btttvecn 43rd 44th Streets) AVw Yori PAINTINGS Old Masters of the Early Italian, Flemish, Dutch, German and English Schools. Gillerits Open 9 o'c.

A. VG.6 o'c. P. H. INSPECTION INVITED iects of Art Special exhibition of rare Old Pewter The most superb of XVIII.

Century Sheffield. Plate in America t'v A Fine. Collection of i Old Staffordshire I Figurines 'A Dinner Service of ttr queens ware Wedgwood: A ---v. Marcolini Chocolate Sett and an M. Johnson-Brown 1 7.West31t near 5th N.

Y. SCHULTHEIS Fsrmaseot EhUltl ef Oil Paintings By American and Foreign Anim. AIJSO i Water Colors and Etching EBgttTlngS, ind Other FtifltJi rntiiiMP. rni.ioi iu rnnivunvi HENRY- SCHULTHEIS 5 5 -5 7 e.y 'St reet Near St. Paul's Cfcurch.

NEW YORK. COPLEY PRINTS A hundred reproductions of famous paintings ART CASTS Fifty different subjects from noted sculptures Corrtct PICTURE FRAMING EASTER CARDS t.ATy' L. GOODRICH SMITH 25 West 42d SL, near 5th Are. Braaeh of East 9tb 'w York. Special Exhibit of Ancient ana Modera PAINTINGS At the NEW Gallery Louis Ralston 431 Fifth Avenue New Yer't jrpCTURE FRAMES FssSV Tn Perfect Taste 11 For Karh Individual Ords IJ the lr-t variety in i '-'always In stock to lct from.

Exclusive rslcrs in Mirrors. Ete--lnrs. Ens-rarlnr. On and Watsr Coiera W. CLAUSEN, cn- OLD SILVER Old Sheffield Ware aad ether rr Antiques, vSlft JOHN PENNING, SUnER SCHOOL OF PAINTING VINEYARD HAVEN.

MASS, ARTHUR ldFREEDLANDER rinH 8EASO.N Jaae tf- Outdoor CUm I.ndcnp, msrlos. -f wUn thr rrsttomms pr Lpam. eourss for students To velep facilttr In the hsndlinir of watar col-r. FMr proic-iu addrets-A. rREULAM)K.

to Wst 49th The New York Times is the bt eediura for Art Dealer n- Ob 1.