The Sun from New York, New York • Page 56

THE SUN, SUNDAY, NOVEMBER 11, 1917. NEWS AND COMMENT IN THE WORLD OF ART Mr HENRY MeaMUDE. depend greatly upon that which I do 'ot yt know. Max Wbb. Tou know our bargain; you are to 'writ mi uncorrected Utters, Just as tha coma, ao lat ma hava them I Ilka eoln from tha mint though It may be a rough at tha clipping la paaal aecordlng to our atatnta.

Pan or Btiikb Bwmun. rFON tha whole, I am oantast I that thara should, hava ban a top of ana fan week eeijireen wtet Ml Mt Sunday a tha work MMMMNMINHawl EngHali Portraits xrn Patch Painuagt Americas Painters and Sculptors aJ Scott ft Foetm GaOmrim 590 Fifth Aram I iwimwwimiHiwi 'Exhibition of Etchings and, Mezzotints By Albany E. Howarth Now Opaa at The C.W.Kraushaar Art Galleries 260 Fifth near 29th SL Goupil Co PARIS ANNOUNCE THE FIRST AMERICAN EXHIBITION al tha Want al PlERETTO-BlANCO Thirty-one CataTaiei PartraiU Views AU tha Hadtea Naw Tark Street aai Park Visas Yanatian Visws St Ufa UnUl Nottmia 1U tncbuhi 58 West 45th St. ttTJSL. F.

fF.Devoe&Co's ARTISTS MATERIALS tm StuJh. 5cW tnJ OuiJoor Vh art World Standard FITTED BOXES GIFTS from 15.00 up. For oI al all we1 tqulffi rttaU Art Btt ttmt. Fuhon William StreeU, N. Y.

NOW ON FREE VIEW SA TINO VER GALLERIES 3 Went 56th Street GEVERAL large collections just arrived from abroad, including many RARE MASTERPIECES of the Fourteenth to Eighteenth Centuries. Arlington Galleries Opening Exhibition Landscapes California by Anne M. Bremer Until Nor. 14Jh tnelurtre 274 Madison Atohm (40th St) To secure the maximum of harmony and distinction as to the setting o( art adver-tllng, and thereby place alt dealers on an I partial basis, no gothlc or block ''type will be used, nor any eccentric typog' raohv: no white lettering on black back' nor thick or solid black borders any advertisement on the Sunday Art age of The New York Bun. Minimum space, 20 lines.

'Rate, 45 cents per line per Issue. PARIS TON-YING CO. Chinese Antiques 615 Fifth Avenue NEW YORK 'SHANGHAI SPECIAL EXHIBITION Oil Paintings and Colored Charcoal Drawings Bv MR. ASTON KNIGHT Until Noetmbtr 17 trsfulucml tonu in Mr. KntsM'a ptclurti art anions thtir motl ati'tcHM qvnlMtt.

NKW YOHK IIBKALD. of tha lata Thomaa Eaklns and what I hava to say now, for there ara certain divergencies of style la tha paintings in Uia Memorial Exhibition that fascinate me, but that, perhaps, will not laclnete those who followed me laat week easily enough in praise or Eaklns's concrete and monumental wuccesses. Tha fact la that Eaklns made suc- rceeaes for the pnbllo and aucceeses for 'artists. That the pifbllo will ever rise en masse to an appreciation of pure style In painting I doubt, but wherever and whenever a community becomes seriously Interested and influenced by the arts there the abstract qualities or painting become more generally legible. It la for that reason that the "modern" movement makes such slow progress Into the public consciousness.

Its appeal must necessarily be to. the few, to the few to whom the brush stroke is as pregnant with meaning as the poet's word. But these few we always have with us, and they will always remain the most staunch and Inflexible defenders of that vestibule of style through which all pass who gain a Wura refuse In the Hall of Fame. In the series of Eaklns's portraits the "Dr. Gross" and the "Dr.

Agnew" take a preeminence that probably will pass undisputed. There remains a aeries that Includes "The Thinker," "Prof. Rand." "Prof. Barker." "Dr. Horatio and "Prof.

Rowland." iworks in which the charactenzauon and finish have been carried to a de cree unprecedented In the history of 'American art 'In none of these has lncsrlty been sacrificed to finish. They rare not In the least perfunctory or academic. Ther are lively and intense, If. public and artists alike were to Join In a voting contest to choose one of theae portraits ror a pudhc museum choice. It ia almost certain, would fell unon "The Thinker." This Is the mojt restrained, moat classic of all of tha Kaxins canvases.

-trained that It Is almost more like sculpture than painting. Only the other day when talking of Eaklns to a group of friends a sculptor who was present said he had seen an Eaklns portrait years ago of a man lost In thought, with hands plunged deep Into his pockets, and he matched hla action to his words by assuming the Identical pose of Eaklns'a -minicer" tor us. It Is indeed a memorable, unforget- able otcture. Were it chosen by museum, by our museum let us say for the sake, of argument, there would be no quarrel about the choice Ths Sun. Were any of the other pro fessors, or doctors chosen there would still be no quarrel here, for ell of them are excellent.

But, and here cornea the rub, I feel decidedly that were an Individual to know the soul of Thomaa Eaklns solely by "The Thinker" he would miss much of extremest value from that painter's contribution. Further more, were the museum my private property and the collection controlled by my private taste don't be alarmed, dear reader, this Is only an argument and In my typical museum poverty I were still restricted to but one example, my choice would not fall upon "The Thinker nor upon any of the portraits named! For my private soli tary King Ludwlgglan delectation rather would I choose one of the so-called Eaklns's "failures. "Failure," of course, Isn't the word, for In the strict sense there Is no such thing as an failure, but I haven't a term ready at my hand for a second series of portraits. Including those of "Mrs. Frishmuth," "Mrs.

Talcott Williams," "Ruth." "Monslgnor Falconlo" and Gen. E. Burd Orubb, which gave Eaklns, the artist, a rude struggle. In them Eaklns gained, and I am not sure he knew It himself, a rude triumph; and In them I take a rude Joy. He must have worked desperately upon these pictures, and most of them had the usual failure with the sitter.

The "Mrs. Frishmuth" was loaned to the Institution to which that lady had bequeathed her collection of muslcnl Instruments, and when the artist asked to have the canvas back to lend It to an exhibition he was told that he need not trouble to return the picture to the Institution! Institutions are In stitutions, you know. Mrs. Talcott Williams posed many times for her portrait and finally, growing discouraged, refused to pose any more. Probably the lady's rela tlves will agree that the likeness Is not photographic, but.

on the other hand, how much finer than a photo, graph it Is. It Is great piece of painting, worthy to hang side by side on equal terms with the greatest things of Degas or Whistler. Mgr. Falconlo also refused to continue the poses when he saw the sort of effigy that was growing between the painter's brushes. Who can blame Mgr.

Falconlo? Let him without vanity throw the first stone! Do you, reader. Imagine that Just because you take, unholy pleasure In Mgr. Falconlo's you yourself would have had firmer courage when confronted by the pitilessly dissecting eyes of Thomas Eaklns, painter? I am afraid you flatter yourself. I fear I never shall convince Mrs. Talcott Williams, and I know I never shall convince Mgr.

Falconlo, tfhat their portraits are fine human docu- LONDON PEKING JOHN LEVY ART GALLERIES 14 East. Forty-sixth Street NEW YORK "Durham- Valley," by George Inness, on exhibition in George H. Ainslie's Galleries. ments, worthy of the salons d'honneur in any of our museums. It will be easier to persuade artists of It, however, i In the "Mrs.

Frishmuth" there Is a large and awkward circle of musical Instruments on the floor about the lady's feet. I never look at It without laughing to myself, yet I admire the work Immensely and will be vexed If our museum allows some other museum to acquire It. The roughness of the decorative arrangement reminds me of a certain decora tion of Goya's that I saw In Madrid and which has the same big lines and savage grace. The "Miss Parker" betrays the same desperation of workmanship that marks the "Mrs. Talcott Williams," and will be found almost equally attractive to painters.

Like several of the other feminine portraits, it bears a strange and haunting suggestion of the work of Bronzlno, How long Eaklns worked on theso pictures' of. course, do not know, but I imagine he spent vast energies upon them. I was reminded of Vol-lard's story of his countless poses to Cezanne, who always Insisted that tho portrait was but Just begun. Llko Cezanne, Eaklns often got most when he thought he had least succeeded. In great art the means are concealed in the end, so It Is said.

In "Tho Thinker" they certainly are. In It Eaklns hides all his effort and withdraws from the scene utterly. In tho "Mrs. Talcott Williams" there is almost a more vivid sense of life because the artist Is stilt there. The creation is still proceeding.

The spectator assists. The lady trembles with aaSBKKKKKKKKKKKKKatBBKKKKKKKSKKKKKKKKKKKKKKKKH jBsbbbH: BBBBBBBBBBBBrV'-', 'BBBBBBBBBBBBBBBBBBBBBBBBBBBBBk. BBBBBBBBBBBBBBBBBBBBBBBb "A Study in Green and Purple," by Allen Tucker, in the Montross Galleries. the unwillingness to become bronze like "The Thinker." It la, and I scarcely dare to say this, lest you become angry, "modern" picture. Mr.

Sterne, the "Lincoln" and Modern Art Vexn Sir: Emboldened by your approval of my "clever" remark concerning Barnard's Lincoln, I take the liberty of encroaching upon 4our time and perhaps space In order to nsk you a simple question: Why Is the prosecution ngninst Barnard's Lincoln so well organized, whereas the defence is wholly inadequate? One cannot but admire the efficiency with which the public prosecutor Is conducting his case. With utmost caro assistant district attorneys were chosen, witnesses of "unimpeachable character" and "spotless reputation" have been called to testify, all tho evidence, direct und circumstantial, such as exhibit shoes size No. 10; exhibit hands clasped over the ab domen; exhibit beard shaven, Ac, has been classified, while tho defenco is sadly neglected. The prosecutor will probably assert that when confronted with' the stag gering list of names which appeared the other day In the Now York Times tho defence has collapsed. That Is not true, for they say that Roosevelt, Leo Stein, Sargent and many others have given evidence In favor of the defendant.

Why are they silent? They should be compelled to appear before the tribunal. But which tribunal? Who Is to be the final Judge, to Indict or to nc-quit? Mr. F. Wellington Ruckstuhl, the most violent assailant of the statue, who by the way, had he been more familiar with the Bible or with stone should have been the last to throw the flrat stone, will probably say: "The test of time has pronounced its Judgment." Years ago I had the honor of meet ing Lincoln's chief assassin (I mean Barnard's Lincoln). He defined a work of art then as ('that which has stood tho test of time." Mr.

Ruckstuhl has evidently gone' back on hla earlier doctrines, for now tries to rob time of its rightful privilege. This reminds me of a neighbor I ad at Rome, a manufacturer of antique furniture. Whenever I passed his bottega I saw him either scratching or rubbing or spitting upon his tables and chairs, throwing dirt and ashes and all sorts of mysterious con coctions on his creations, to give them patina when finished. They almost seemed like the real quattrocento article. No.

I think It would be far better for Mr. Ruckstuhl to stick to his older theories and devote his publication, the Art World, to art of the past and art which has oassed or upon this theme It Is very Illuminating, although' sometimes It mistakes the former for the latter, and vice versa. For Instance, from tho August number of his World I learned that Gerome's "Death of Ctesar" Is "a great work of art" and Tintoretto's "Ascension" at the Bcuola dl San Rocca at Venice "merely a clever work of art" and why. I was also Interested to hear that the Disciples In 'Tintoretto's picture "are doing things they would not have done in real life." (I studied the movement of the figures, but failed to discover anything Improper.) And what evidence has the Arf World that "In real life there would not have been the figure In the left hand corner holding an enormous book. In Christ's day they had no books like that." The above quotations Imply not only an understanding of art, but a fa- mlllarlty with the events depicted in the two paintings.

Is one to assume that the writer was present as Ciesar's assassination and then took a trip to Palestine to witness tho ascension of Christ? If so, the writer of the "Art World" must have received advance Information of the forthcoming event. In fact, his magazine is filled with mak-vojent allusions and pretentious hints as to its mysterious sources of inside information. But I have drifted far from my first question: Can you tell me why Is It that America Is tho only place where the reactionary elements all hang together whereas tho progressives hang separately? I hope you will be able to answer this, question. Sincerely yours, Mai'iuce Stbunb. I regret that I am not.

"able" to tell you, In public, why the art progressives hang separately In America, although I know. Possibly next time 1 meet you on the avenue I'll whisper It In your car, if you promise not to tell, it Is, alas, political. mutter. Ah, these politicians! You nre right to chastise them, and I would that you might drive them from all the art tem ples In the city. But don't be too angry with F.

Wellington Ruckstuhl. Ho Is Incapable of doing harm to George Grey Barnard, and on the contrary may do him lots of good. The Lord works, ns you know, In a mysterious may Ills wonders to perform, and for my part I nm firmly convinced that Mr. Ruckstuhl was, ns they say, "inspired." By the by, Mr. Ruckstuhl himself has donu "Lincoln." It was shown for a few days nt the Union League Club, Did you think It neces-sary to visit It? I had lieen under the impression thnt Mr.

R. had 'burled tho sculptor under the critic, but it seems I was mistaken. Notes and Activities in the Art World Allen Tucker, who is well known in New York aa an impressionist with advanced' tendencies, Is exhibiting a series of landscapes and portraits In the Montross Galleries. Mr. Tucker's color Is good straight impressionistic color that has scarcely changed from the formula employed by Monet, Qulllaumln and Slsley.

Color and light are almost the sole things this painter sees In landscape, and color and design when It comes to an Interior portrait Of all these things light Is his supreme passion, and It is amazing that he can strive so for light (and yet more light, like Goethe) and get so little atmosphere. His landscapes are almost two-dimensional. Light according to Mr. Tucker, travels up and down, but never sldewlse. Fortunately In these liberal days no one insists upon a painter be- Portrait of a Girl," aH bbbbbbbbbbbbP'bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbH i H-VallttBW'LaBBBBBBBBBBBBBBBBl BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBtP i bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbV BBBBBBBBBBBB I BBBBBBBBBBBB fB jjfeJ BBBBBBBBBbIbbI isjsBBBBBBBr BBT 99bBBBBBBBBBBBb BBBBBBBBWFl 'u'SBnBBBBBf 'b7 uUSBBBBBBBBBBBBBBBBfl bbbbbbbbW Wtl- s'mlmm JSbbbbbbbbbbbbbbbbbbbbbbbw SSBBBBm i '4 ViJSBBBBBBBBBBBBBBBBBBBBBBBBBB i i BBBBBbB4M HBaBBBBBBBBBBBBBBBBBBBBBBBBBBBH BBBBBBBwCSaur Jbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbb1 4 Ing everything or having everything, Mock by an artist who seems in most and about the only requirement Is that i Instances to have known little more tho painter have convictions, it doesn't about tho wood block than some of Its matter what you do or don't do If you mnjor limitations, whereas the Italian only do It or don't do It with a will, woodcut design of tho early Rcnals-Consequently Mr.

Tucker's deaf eye tolsanco, at least In Florence and Venice atmosphere may be a real nsset after a while when he develops It, or to bo strictly ungrammatlcal undevelops It some more. Of tho landscapes I am Inclined to like best the "Sargent Mountain," In of men who work hablt-whlch some flying clouds partly ob.iua"y with knives and chisels rather scure a red-blue mountain, the tips of Ppn and paper. Not so some pines Just peeping Into the pic ture. It Is free, easy and symphonic. Mnrtln Borgord and W.

M. Singer, both well known painters, nr-rlved at "an American port" this week from Norway, Mr. Bbrgonl reports that the prosperity of Norway Is extraordinary and has resulted In fantastic conditions. The, new millionaires are thicker than leaves In nutumn, and spend their money with a recklessness that exceeds, so Mr. Borgord says, anything ever witnessed In our Western mining camps.

But unfortunately there Is very little in tho country but the money, and the food shortage Is exceedingly serious. Champagne flows like the proverhlnl water, and even on i minium me u.Mi..,.Kiir consumption upon tho part of the Nor- wcglnns reached unprecedented figures, Asked If the artists were selling any- thin In. Norway, Mr. Borgord threw up htshnnds In a gesture to Imply that they were selling everything. Never were the Norwegian painters so pros t.n i i.

i. perous. Tne newiy rich were simply wading Into art. At the exhibition wKlch had Just opened In Chrlstlanla more than half the paintings had al ready been sold. And nt such prices! Follows who a year or two ago were getting 200 or 300 crowns now were commanding 3,000 or 4,000 crowns.

And as for Monk nnd the leaders, they were, gaining fabulous sums. "Only," nnd here. Mr, Borgord's face grew very sad, I for Mr. Borgord doesn't caro for "mod- em" art, "Only Norwegian painting Is. going quite to the demnltlon bowwows.

They nre nil painting In dabs and splashes of color without form." "Do you mean to say the nouveaux riches buy modern nrt In Norway?" "Sure, they do," returned Mr. Borgord dejectedly. A most complete nnd comprehensive exhibition of the war posters of tho allied nations is being arranged and will open in tho Ardcn Galleries Rbout December 2. The benefits accruing from tho exhibition will be devoted to a patriotic purpose, The committee In charge Is Mrs. James C.

Rogcrson, Mrs, 1 John W. Alexander and James B. Town send. W. M.

Ivlns has written an exhaustive study of the engraving In the period covered by the exhibition of Woodcuts which he has arranged tn the Metropolitan Museum of Art The exhibition is one of the most Impressive yet shown at the museum. Mr. Ivlns says! Perhaps the most striking aspect of the book Illustration of the period Just prior to 1500 is the perfectly delightful understanding which their makers had of the particular pictorial and physical problems confronting them. The thing which they held uppermost tn their minds was the necessity that a suc cessful Illustration, In addition to being a pleasing design, should tell a story, swiftly and easily to be comprehended. With their delicate sense of proportion snd their most human Interest In the stories that they were telling, these anonymous workers developed a terseness of statement and a directness of attack upon the central problems of Illustration which can best be compared with the literary manner of their favorite story tellers.

In very few of the Italian cuts Is one ever at a loss to understand what the designer was trying to express. There' are so few life-urea, the figures ere so clearly differentiated each from the other, and each of them Is so evidently doing Just what he Is doing, the notation of gesture, however ready, Is so' Just and so charming, that unlesa one is careful the little pictures may at first sight seem too easy and simple to be really "works of art" But the sheer loveliness and freshness of the designs and the fine workmanlike Intelligence lying back of the severe simplification of statement In many of them prove that they are the result of that highly conscious and deliberate craftsmanship which in ordinary life, one Is apt to meet only tn the pages of some anthology of lyrics. The Italian woodcut seems to have grown directly out of a manual practice not that of the painter's studio. In Germany the woodcutter, generally speaking, was set the task of making a facsimile of a line drawn on the by Thomas Eakins. 'he two plncf-s where It reached Its finest and most abundant development was, to Judge from the Internal evi dence afforded by the prints them selves, based upon the tradition and much "jrm'nt artists" giving vent to their iillosj ncrasles niul sclf-consclous-ness as highly Intelligent nrtlsans lm-Imed with the spirit of tine craftsmanship, the makers of thtse cuts yielded themselves to their medium, basing their designs and linear method Its nature, and on the easiest ways of working It, seeing the llnlhttl print through the printing surface rather than through pen and paper, Tm freely availed themselves of the untouchtd surface of tho wood, producing thereby large t'xixinscs of Mack of a kind never tn be found tn the work of the northern reed pen schools, and only to lie matched In the woodcuts of Japan, where the solid blacks again grew out of a physical factor.

In that case the peculiar Japanese drawing brush. These masses of Mackwcre difficult IO prmt, nowevcr, in such a manner that the should be even i throughout, and therefore. like the craftsmen they were, they solved the difficulty In the taslest poslblc way, by scratching the broad surfaces with the points of their knives so that they 'were broken up and the difficulty of Impression avoided. Tho Florentines, again. Immediately realized that If an even Impression were to be hnd in their rather quick nnd careless print Ing of the chapbooks in which the most delightful of their cuts nppeared thete should be some support for the platen of the press, so that In taklnir the Impression It might not exert on undue pressure or.

Isolated lines, This olso they solved In the easiest way, not by making Improvements in their presses or by taking greater Pains in their pressmanshlp, but by tarn mile cut with 0 heavy hlack border, broken only by a conventional pattern, In such manner that each block had Incorporated with it Its own support. Largely becauso of such things as theso the Florentlno woodcut, elegant ard accomplished and charming as it was, never had quite the same aloofness from lis material, never quite tho same feeling as of extraordinary difficulty overcome, that Is so marked in the German work. Its beauty nnd It is frequently very great always re-mnincd that of the finely designed and well made example craftsmanship, of the thing ihst is wholly consistent with Itself and at ease, and never stands forth commanding the attention of the world as for some four force achieved. It may well be that because of this very craftsmanlike approach' to their work the Italian woodcut makers produced lines largely lacking In that nervous quality which is so noticeable In the woodcuts of those other schools Whose work approached being facsimile of pen work. A pen line is usually nervous and full of accents, and Its proper rendering Is a matter of some difficulty; for the cutter's knife or gouge, being stuck Into a heavy, thick mass of.materlal through which It must be forced, does not nat urally follow any but the most regular path.

The Italian work, based on the simplest wsy of working the knife; has thus a native quality springing directly from the materials and tools used In Its production, which, while different from, ihould not be regarded as Inferior to, the more nervous fac simile work; a linear quality that in such books as th "Hypncrotomachla" approaches closely that of a finely designed and out piece of type. The difference between such work as that and tho typical northern facsimile cuts may perhaps be likened to that between a piece of wood sculpture In which' the surfaces have been botfly cut and a bronze casting from moulded wax. Whatever the Italians may have lost through neglect of the nervous line they more than redeemed through their clear realisation of the crucial fact that In a finished composition in black and white beauty of texture is not so much a question of the nervous quality of the single lines as of the construction of the linear web as a whole. Thus they exhibited an almost unequalled sensitiveness to the great value of blocks of white and black when Judiciously counterpoised, to the "color" which may be gained by massing regularly laid lines varying slightly In spacing and direction, and above nil to the great value of an architectonic method of building up their compositions, whether pictorial or purely decorative. Largely because of this it is doubtful whether one can find In black and white a more astonishing array of beautiful designs produced In an equally short period than those contained in the reproductions of woodcuts from Venetian and Florentine incunabula In the several books and articles by Dr.

Paul Krlsteller and by the late Prince of EsMlng, and in the several facsimiles of the "Hypne-rotomachla," a strange macaronic ro mance, the first edition of which (Venice, Aldus, 1499) has long en-Joyed the reputation of being perhaps the most beautifully Illustrated book sver printed. After 1500 there was a rapid decline In the beauty of the Italian black and white woodcut, the Florentine printers apparently having accumulated a supply of blocks which sufficed for their while In Venice, one of the great centres of the Renaissance book trade, there were so many conflicting elements and stylts and so great a competition between the publishers that the standards set during the preceding ten years were largely forgotten. Generally speaking, i therefore. It may be taken as true thnt f' Important woodcutters toward the end of the first quarter of the sixteenth century, the work Is of little value. The one Important thing during thl dull period Is that under the competition of engravings on copper there sprang up a demand for Illustrations In which thero was shading, the earlier work having been nlmnst entirely confined to outline and the1 simple linear Indication of detail.

This shading nt first took the form of a coarse rendering of the conventional Italian pen and engraved work. In which the masses of shadow were represented by parallel lines running diagonally ncross the figures and objects represented, rather than by lines following the exterior contours. From this gradually grew a greater deftness in cutting, as It became almost necessity that the pen lines should be carefully facsimiled In order tn secure eny relief or modelling In the figures. Prior to 1500, although It is possible to form various groups very simitar In character, there nre but few designers or cutters of woodcuts who can with assurance 'be singled out the severnl monograms which appear Ik-Inc apparently only workshop signatures. Bernhard Bcrcnson has claimed for an unknown master, whom for convenience's sake he calls Alunr.o dl pomcnloo, the authorship of very large portion of the most charming of the Florentlno blocks, but his theory is based entirely upon the Internal cvidenco afforded by the cuts themselves, and seems, not to have been universally accepted.

There is a long lived and sturdy tradition to the effect thnt Matteo rle I'astl made and cut with his own hand the little pictures which are found In the edition of Valturlus's "Art of War," printed at Verona In 142. He doubtless may have made a set of designs from which the cuts were copied, but there Is nothing positive to show that he actu ally ever touched any of the blocks with either pen or knife. The verses constituting the colophon of the edl tlon of John of Holywood's "Sphnrn Mundl" printed at Venice In 1188 state specifically that the astronomical figures were Inventofl tv Tnlm Santrltter of Hclbronn and were cut on the block by Jerome de Sanctis, Yamanaka Co. Announce the Opening OF THEIR New Galleries THURSDAY November 15th 680 Fifth Avenue Between 53d who Is thus the only woodcut it prior to 1600 In Italy of whom we hava positive, evidence. Possibly two nf Jacopo da uartmrrs three woodcut were made in the fifteenth century, uui 41UU1HIB; is n(iuvii MB 10 ineir exact dates (see Krlsteller's "Engravings and Woodcuts by Jacopo da liar ha ri, London, 1895), while Dr.

Llppmnntl In his "The Woodcuts of the Master I. B. with the Bird" (London, Mi), attributes some of the Illustrations Ii a "Tesauro splrltunle," printed at Milan In 1499, to that master. Old Chinese Porcelains Jadet, BrentM, Glut ami oiktt Oriental Art Works Fukushima Incorporated 619 Fifth Avenue Two doers South of 10th St. ErtablUhtt mn F.

KLEINBERGER GALLERIES, inc. ANCIENT PAINTINGS ANNOUNCE their REMOVAL to 725 FIFTH AVENUE Bttxtttn Seih and S7th Strttti The New Cafleriei will be open from November 1 2 to 30 with a LOAN EXHIBITION of ITALIAN PRIMITIVES the full (Tou receipt! of which will go to the American War Relief La Place Antique Shop DIRECT IMPORTER Objects of Art and Period Furniture Ancient Art Works Faithful Copie, Ttltphoni Maiiton Squa'r 242FifthAve(s,) and Branch 11 East 48th St 'Jrrr? txAihtton PAINTINGS eNEWYORK NOW-ON -VIEW AT'THE MILCH OALLE RIES WATER COLORS Wm. Ritjcnel, N. A. Henry Farrer E.

Mulertt G. Signorini F. Ba'lesio OIL PAINTINGS R. Dudensing Son 45 Wert Hth st Bet A Cth A.n DANIEL GALLERY Paintings by Brer Nordfeldt 2 West 47th St. 54th Streete.