Fine Arts Journal (March, 1908)
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Entered as Second-class Matter May 4, 1900, at the Post Office st Chicago, Illinois, under Act of March 3, 1879. DEVOTEDTO “Wap ART MUSIC& Wy LITERATURE. @Mi eet oa MARCH NUMBER — | | 3 oO cents, per copy 3 | $3.00 per year.
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MOULTON & RICKETTS IMPORTERS AND DEALERS IN Foreign and American Paintings Paintings by Pror. J. J. Henner, Fetix Ziem, JuLes Dupre, CHAs. LANDELLE, A. Piot, Euc. VERBOECKHOVEN, Tu. VAN Stuys, C. Van LEEMPUTTEN, A. Piot, E. R. Mars, Wirtiram Watson, A. Mauve, J. G. Brown, Pror. GEoRG PAPPERITZ, THOMAS Moran, GEoRGE INNESS, D. SHERREN, F. MouLToN, Cuas. Van Dun Eycxen, JoseF IsraEts, B. J. BLOMMERS, Rosa BonuHEwvrR, J. H. L. Dz Haas, J. H. Keever, Fritz THAULOW and others 14 & 16 East Van Buren Street, Chicago, Ilinois TELEPHONE 1900 HARRISON ERICAN ACADEMY of DRAMATIC | 3 x RTS4 AND: ve Wis the Finest Studio in cineca | | EMPIRE SOME POINTS ee THEATRE © | @ Ground floor reception room with private proof My : avid pee he a appointed Lortiine /D R AX M AT I C i in cago. rivate elevator to lig jel Sala col Sars ou the toc ear = Pan] | SCHOOL | @ The product of the Moffett Studio has the dis- — tinction of being artistic studies and poses. Our = : | Artist Prints delight our patrons. Prices, from ten BOARD OF TRUSTEES — less than you pay elsewhere for the best FRANKLIN H.SARGENT, PRESIDENT ittings by appointment. We make a DANIEL FROHMAN daly of Ivory Miniatures. Come and see for ocak | BRONSON HOWARD CONNECTED With Mr, CHARLES ichaukss 2 5 Congress Street—Telephone 6706 Harrison | Baaccintits eaten AND COMPANIES VISITORS ALWAYS WELCOME pF arspesaciale Meg ae
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FINE ARTS JOURNAL GALL BRYY *Ghye Se rrr REPRODUCTION 3 2.8 REVIEWING EXAMPLES OF PAINTINGS AND SCULPIURE FROM RECENT ExX- HIBITIONS AT THE ART INSTI TUTE — TYPES (OF: ORTENTAL RUGS—A NEW MINIATURE EPOCH - ARS NO TES. £ieay ETC
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A THREAD OF SCARLET By H. H. Breckenridge.
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SS> = NE ARTS Entered Chicago-P.O. Published at On Sale at as Second Class Matter C h i cago all News Stands Office, Record-Herald Building, 154 Washington Street Volume XIX. MARCH, 1908 ~ Numbe EXAMPLES OF PAINTINGS AND SCULPTURE PROM RECENT EBEARHIBLLIONG By GISELLE D'UNGER HAT great development has been shown by artists of Chicago and the West is unanimously conceded, for it is evident in the mural decorations shown through- out Chicago in its public buildings, its schools and residences. The culture of a community depends upon the citizens who are public-spirited and gen- erous financially, and with the added impetus of the Municipal Art League, the Association of Commerce which encourages the marking of historical sites as the recent Marquette Cross at the head of the drainage canal, the activity of women in club circles, and the in- terest of business men who visit the exhibitions for personal reasons at the various dates recorded in the Art Institute calendar, the commercial center of the United States will rival Berlin and other beautiful cities abroad. While appropriations or bequests are limited as yet, still the seed is growing daily and annually, as all who run may read. Notably, the Ferguson bequest, has given to the city of Chicago a sp!endid example, typical and impressive of the “Great Lakes,’ modeled by Lorado Taft, which will adorn the entrance to Grand Boulevard, that beautiful drive leading to Washington Park, a link in the chain of boule- vards which will challenge the world to produce its equal. “The great inland seas which make the dominating geographicai feature of this part of the United States are becoming more and more appreciated as the years pass by. ‘They are proving highways of com- merce whose volume is swelling with every twelvemonth. They furnish the pleasure seeker with the longest and most delightful inland water trip to be found in the world. Their shores are lining fast with large cities and flourishing towns, some of them marked by manufactures and trade, others by beautiful homes for summer residents. “But, after all, what most appeals to the thoughtful person is the
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14 “EXAMPLES OF PAINTING AND SCULPTURE THE BLIND By Lorado C. Taft steady flow of-the waters as their tremendous volume pours from Superior through intervening lakes, rivers, rapids, and cataracts into the distant Atlantic. The fountain which represents the artist’s conception of this feature ought to remain in Chicago. It ought to have a noble setting in a commanding location. In the suggestion for the adornment of the en- trance to Grand Boulevard the suitable place and the proper decoration are joined. When there are added the Ferguson fund for the purchase of statues and the oft displayed wisdom of the south park board the com- bination is one seldom found. The proposition is one which makes a strong appeal to every citizen of Chicago.” A Chicago sculptor, Lorado Taft, has evolved this exquisitely beauti- ful conception of the linked waterway and not alone this expressive feature of his inspiration, but many others which reflect the patient toil and burn- ing enthusiasm of one who shares in the development of Chicago. At the recent exhibition by Chicago artists last month, Mr. Taft presented a remarkable composition based on Maeterlinck’s play, “The Blind.” Sym- bolical of life, the struggle of helpless humanity against a seeming in- exorable fate, is tragically exemplified in the twelve figures who have been forsaken by their leader apparently, but who, in reality, has passed into that mysterious land from whence none return. The child alone, typical of faith and hope, is their only guide to lead them out of the depths of the forests into safety. The beauty of this group in its varied emotions
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EXAMPLES OF PAINTING AND SCULPTURE = 115 HER SON By Nellie V. Walker is emphasized and convincing, as above all the despair, horror and suffer- ing, the child borne aloft is like that of old, “a little child shall lead them,” or as the star which guides the mariner to safety over tempest-tossed waves. Impressive, tender, pathetic, the dignity of this composition touches each child and adult observer, with its forceful intent, so simple and so human is its message. Another beautiful piece of modeling and subtle conception was “Her Son,” by Nellie V. Walker, which received the prize of one hundred dol- lars for the best piece of sculpture through the Exhibition Committee of the Municipal Art League of Chicago. Miss Walker has surpassed all previous efforts in this exquisite mother and son, although she has many excellent things to her credit and her future is evidently assured as bright and successful. | Sculpture is fascinating to everyone when successful, as life and activity are inseparable with this expression of art, having no color to emphasize, or throw into relief the thought which compels attention. In Charles J. Mulligan’s “Justice and Power,” and “Law and Knowledge,”
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16 EXAMPLES OF PAINTING AND: SCULPTURE RR ee x PORTRAIT OF DR. JOHN BASCOM By Edith Freeman Sherman there is a powerful, impelling force in the symbolical figures and acces- sories, which instantly halted the spectator. Here is the virile, rugged touch of a young sculptor, original and full of enthusiasm, reminiscent of that “Young Lincoln” which received such favorable comment. As these groups will be carved in soft stone for the Supreme Court building at Springfield, Illinois, there is added joy in the recognition of a brilliant young man who received the commission as well as the coveted medal by his associates of the Chicago Society of Artists. The sculpture exhibit was one of intense interest, as portraiture was prevalent notably in busts of the late Dr. Nicholas Senn, the noted sur- geon, and Dr. John Bascom, by Edith Freeman Sherman, who makes a ‘specialty of such portraits. Dr. Senn’s bust attracted much attention, as he was well known to thousands. In Dr. John Bascom, formerly of Uni- versity of Wisconsin, and an authority on psychology, Mrs. Sherman has
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EXAMPLES OF PAINZING -AND SCULPIURE. 317 been very successful. She graduated from the Art Institute of Chicago with honor, having been a pupil of Lorado Taft. She has exhibited in the “American Artists’ Exhibition” in Chicago, also at Philadelphia where her portrait of Dr. Frederick A. Noble, D. D., for a number of years pastor of Union Park Congregational Church, was passed by the jury, an unusual compliment for a young sculptor. Youth is exuberant and enthusiastic, hence, a recital of Mrs. Sherman’s successful modelings re- veals her diligence as well as her talent. General John C. Black, Past Commander-in-Chief of G. A. R.; Dr. Schaefer, a noted surgeon of Chi- cago (now deceased) ; Dr. Nevins Hyde (Chicago), Dr. I. A. Freeman, Mrs. Ralph Harland, Mrs. Hunter and many others are familiar to the public. There are also the “Soldiers’ and Sailors’ Monument” at Wau- kegan, Illinois, an ideal group of “The Three Fates” and a relief of “Dar- win,” which have been highly commended for study in line and composi- tion, as well as delicacy and accuracy in modeling, and for strength and individuality. Mrs. Freeman is at work on a portrait of Dr. Frank Gun- saulus. She has exhibited with the Chicago, and also the Western Artists. Leonard Crunelle carried off the honor of being chosen by the pur- chase of the “Squirrel Boy,” a bronze as worthy of representation in the Municipal Art Gallery which now contains “October Sear and Gold,” by John C. Johansen (1903), “Frost and Fog”’ by Adolph D. Shulz (1904), “In an Old Gown” by Martha S. Baker (1905), ‘““Wharf of Red Boats” by Frank Russell Wadsworth (1906). In 1907 exhibition, the appropria- tion of purchase went to “Autumn Afternoon,’ Charles Francis Browne; “Day of the Market, Brittany,” by Pauline Palmer; “Lingering Lamps,” by James William Pattison; “A Breezy Day in the Harbor,” by Anna L. Stacy. Mr. Crunelle, who has made a brave struggle o reach the heights from the depths of a coal mine, has won signal success with all his tender, baby heads and juvenile skaters and other such delightful conceptions. The Lyman A. Walton prize went to Clyde G. Chandler for “Blindman’s Buff,” a charming bit of child life. The late Carter H. Harrison, by Frederick C. Hibbard, occupied a conspicuous position, and Richard C. Bock was represented by ten excellent examples, which require more space than the present article admits. Ben D. Cable’s “Buffalo,” Julia Bracken-Wendt’s two reliefs, Florence Wyle’s fountain and _ portrait, Maud Doggett’s “Gilbert Rose,” Laura Kratz’ “Sign of the Spade,’ and others, and Will Le Favor’s two examples added beauty and virility to the sculpture exhibit of 1908, which proved not only stimulating, but a revelation of the earnestness and sincerity of purpose of these men and women who are surely in line for future commissions for beautifying and developing the western section of this rich country. Mark the prediction: These names will be more familiar in less time than one can conceive. Chicago is a huge, throbbing furnace of activity, but its culture germ has not only sprouted, but put forth leaves. It is the mecca for the great west which flocks to it, for inspiration as well as things material. Out on the vast plains, the broad prairies, the mountains and valleys, the coast of the Pacific, thousands are in touch with Chicago’s progress and its generous spirit to the stranger. Within her gates the great temple on the lake front shines like a star of hope to those interested in art, in all di- rections. To its portals come the representative element of the future and,
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THE BOSCAGE By Edgar Cameron. LANDSCAPE WITH CATTLE. By H. Leon Roecker
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EXAMPLES OF PAINTING AND SCUEPTURE 119 THE TERRACE By Alice Helm French while its school sends out its thousands, the galleries invite the struggling artist and lifts him from the sea of commercialism which threatens to engulf the nation. Many familiar names occur to visitors who are so fortunate as to be present at its numerous fine exhibitions, such as Ralph Clarkson, James W. Pattison, Charles Francis Browne, John L. Stacey, Anna Stacey, Pauline Palmer, Frederick Bartlett, Alfred Juergens, Charles L. A. Smith, W. J. Reynolds, Henry Charles Payne, Antonin Sterba, Adam E. Albright, Daniel E. Bigelow, the veteran artist of over eighty years; Wil- liam Harper, Cadurcis P. Ream, Charles Boutwood, Frank Dudley, Wal- ter M. Clute, Frederick Freer, Cora Freer, Bertha Mensler Dressier, Eugenie Glaman, William P. Henderson, John W. Norton, E. P. Kellogg, Wilson H. Irvine, Alfred Jansson, Frank Peyraud, Mrs. S. Van D. Shaw and many others whose landscapes and marines are familiar. Edgar Cameron’s charming scenes are in many homes and his “Bos- cage” is representative of his strength and the quiet beauty which per- vades them. Leon Roecker had the unusual happiness to have a friend urge the selection of the exquisite “Landscape” so well painted and a delight to the artist for its meritorious qualities, for the exhibition. It was unanimously chosen and deservedly so, and attracted instant attention at a recent exhibition. Marie Cameron’s “Wandering Thoughts” showed a beautiful girl in modern attire, quite in contrast with the “Reverie” of Eleanor Colburn. Among the innumerable landscapes and marines at various exhibi- tions, none are more conspicuous for beauty than those woodland scenes of W. C. Emerson, who has chosen the warm glow of autumn to express
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120 EXAMPLES OF PAINTING AND SCULPTURE the love of nature which titles of his canvasses indicate. ‘Morning Mists’’ touches with its musical silvery note, and “Through the Trees,” “The Old Road,” “The Brook,” “A Bright Day,” “Evening,” and “Fall Landscape”’ are charmingly suggestive of color and motion. Cloudland enters into these compositions, with reflections in cool, clear water of the warm, pulsing breath of summer, the merry rustle of leaves, and the golden glow of October. Even the fascinating titles would lift the creature of mun- dane habit into more poetic flights, for there is none so callous nor in- different, who is not attuned to Mother Nature. With this absorption in the season’s changes, Mr. Emerson appears to have kept distinctively in view the feeling of depth and sincerity which characterizes painters of the American school. There is a broad, free note of interpretation, which Ey « * ee | 3 Bl A BRIGHT DAY By W. C. Emerson is individual, not dependent nor interdependent upon other artists’ meth- ods. The very simplicity of his work is its most forceful advocate, its most appealing note to the spectator. Fine examples of artists, restricted by the development of a commercial center, or, indeed, of a commercial nation, are pathetically interesting, when the difficulties which assail them are fully realized. A man seeks the woods, but the trolley car dashes through with its loads of joyous occupants; he flies to the seashore and is met by the same limitations ; still he holds to his purpose, to an individual belief, that certain aspects of nature have a meaning and a message, and through thorough concentration he captures the will-o-the-wisp which has tantalized and lured him to the scene, which blends with his mood and proves the psychological moment. There is no story telling, no decorative scheme in these paintings of
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EXAMPLES: OF PAIN TASG AND: SCULPTURE rat Emerson, but a desire to convey certain truths which are apparent to one sympathetic and receptive. His art is didactic because it is plainly his desire to reach his public through his own power of observation, his very intensity of purpose which is revealed in the well-balanced composition, the atmospheric effect and the tone values. Mr. Emerson has received many appreciations of his merit through prizes and purchase, but, doubt- less like all true artists, he believes the value for inspiration lies in the reward of well-doing with renewed intensity for the future. In the float- MY FRIEND FRAULEIN “F” By Harriet Blackstone ing clouds, the little purling stream, the light through trees, the fine per- spective, the saplings or trunks, a fallen log, an indistinct figure passing through the wooded interior, there is a joyousness, a vibration as of music, a glow and color, intensely harmonious. “The Bright Day” is a beautiful example of this artist’s work. Portraiture is becoming more valuable and attractive to the artist annually as is observable in the exhibitions each season. .A demand tc perpetuate the family name and feature, to retain a visible likeness of one who may be traveling, to hold for posterity, has been a source of inspira-
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122 EXAMPLES OF PAINTING AND SCULPTURE tion for men and women. Some years ago, Harriet Blackstone of Glen- coe, Illinois, presented an excellent and well painted portrait of “My Mother.” It betrayed unusual promise and attracted much attention, not only for its excellence, but its size and the careful delineation of char- acter. On another oc- casion, one of the “‘Sol- dat de Crimée”’ consent- ed to pose for Miss Blackstone while in Paris, and Chicago wel- comed the picturesque, pathetic old soldier, with needle and thread re- pairing his tattered uni- form, upon which the medals for brave service were still suspended. A fine old type, with scant white hair, awkwardly pushing a needle in a tremulous and_ uncer- tain manner, dignified and simple in treatment touched the hearts of all. Thrilled by memories of the past, the heroism of those brave men seems to pervade the canvas with its subtle tones and delicate harmonies, assured it a welcome in the 1907 salon. There are other phases of Harriet Blackstone’s art and development, and those are prominently shown in three later canvasses displayed in Chicago at the Art Institute. “My Friend Fraulein F.” is a most agreeable and harmonious portrait as the charming girl sits opposite a mirror with the cool purple fleur de lis clasped in restful hands. It is a splendid character- ization of an attractive girl in an artistic, still modern costume, whose dreamy eyes are looking into the future. Miss Blackstone has made a portrait, lifelike in quality and sentiment, the colors mellow and the mod- eling excellent. In the “Japanese Prints,” another type of youth in an artistic interior, is a young girl in white gown enjoying a collection of Japanese prints, which distribute bits of color in delicate confusion. The light streams upon the girl through a lawn curtain and the wood tints of the furniture and other accessories, act as a shadow box for the pretty maid seated on the floor. Then there was a more excellent portrait of ‘The Doctor,” which was less decorative but more subtle, containing the strength and vigor characteristic of the artist’s merit, but a more appealing handling from the artist’s point of view, hence a more difficult and successful attainment Miss EUNA TURREN TINE Miniature by Frances Farrar.
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EXAMPLES OF PAINTING AND: SCULLY PURSE. 123 MRS. CHARLES S. FARRAR Miniature by Frances Farrar has resulted. During her several years in Paris, Miss Blackstone devoted her time seriously to her art, which commands marked attention through the rapid progress of her career. The increased enthusiasm for miniatures is interesting to note, as the joy of possession of something which is portable, which can be lovingly passed from hand to hand and closely examined, is beyond expression to temperaments delicate and sensitive. Historical miniature exhibitions have been a feature at Vienna and other art centers abroad which have demonstrated to many on this side of the Atlantic, through illustration, the great beauty and delicacy as well as the charm of composition em- ployed by early distinguished artists. Aside from the likeness, that evanescent quality which holds the attention and perpetuates the minia- ture as an artistic conception must be embodied by the artist. While women appear more strongly attracted to this delicate portraiture, there are men who excel, in these modern days. A notable exhibit was recently held at Thurber’s Art Galleries by Charles Turrell of many royalties and celebrities, and Robert Brown, a local artist, has frequently exhibited also. Magda Heuemann is well known and quite recently displayed a splendid piece of work in Philadelphia and elsewhere of a grande dame in brilliant crimson bolero and broad hat, in a frame designed by herself. Anna Lynch shows well and frequently, as do Eda Normoede, Emma K. Hess, Margaret Louisa McDougal, Lillian Ruby Deane, Harriet Fox, Mabel Packard, Katharine Wolcott and Mary Younglove. The exquisite touch and sense of color required to produce these dainty creations must be innate. In Frances Farrar’s charming examples here shown, is revealed
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24. EXAMPLES OF PAINTING AND - SCULPTURE a delightful sense of proportion and atmosphere, with a careful delineation of values and accessories which the black and white fail to produce. Tex- ture, tonal values, velvet flesh, hair that is real, not painted, a rare refine- ment and delicacy of touch and harmony, are suggested in viewing the miniature of Miss Edna Turrentine, who sits gracefully at ease, with an alluring chapeau which assists in making a deliciously tantalizing vision when donned by the owner. Youth is always attractive and this captivat- ing maiden, serious and dignified, doubtless has a merry nature. In the dignity of age, Miss Farrar has betrayed stronger qualities which are unobtrusive but firmly stamp the portrait as true to life. Light and shade are well balanced and distinguish the portrait as most excellent. Miss Farrar has demonstrated her conscientiousness of purpose in detail which is most minute and exceedingly difficult in miniature, as the accessories add a touch and tone to the other values which are unusually intricate and require a deft manipulation and a correct eye. ‘ These miniatures here reproduced were exhibited and commended in the fall exhibition of the Pennsylvania Society of Miniature Painters. Miss Turrentines lovely portrait was subsequently exhibited by request at Walter Kimball’s in Boston, in Providence, Rhode Island, and in the Art Museum of Worcester, Massachusetts. It is a fortunate circum- stance that the lovers of miniatures who failed to see the originals of these two excellent examples, have the opportunity to study their grace, their charm and their original treatment. Frances Farrar is a resident of Chicago, and her name is known wherever art is known as a study, as she is the daughter of that inspiring teacher, Professor Charles S. Farrar. so well known to clubs from Maine to California. Frances Farrar studied at the Pennsylvania Academy of Fine Arts and the Art Institute of Chi- cago. She has been associated with Mrs. Starret’s School for Girls in Chicago, assisting in the art development of that institution. What dweller among man can resist the spell of the mountains which lift their eternal heads above the valleys? Their spiritual and moral value is beyond gold, their majestic solemnity beyond comparison unless with the ocean in its grandeur. Paintings of mountains are inspiring and elevate the artist above his fellow man when he puts his heart and soul into an expression of their mysterious beauty. There is a peculiar sense of helplessness of which one rarely is resentful when looking upon a range of mountains. It is as when the child relies upon his father for protec- tion when the awe and mystery of some great convulsion of nature appears overpowering. ‘The sense of danger, of an unseen force is swal- lowed up in the appreciation of a great mystery. John Hafen, the Utah artist, has painted mountains many years and he brings to eastern states a wonderfully impressive series of pictures. There is a simplicity surrounding the man, whose gentle personality is one who paints for love of it, who has become attuned to nature through close association. It is true he has lived in the west since a child, and therefore, is to be classed as a western product, although he was born in Switzerland. Perhaps this love of mountains is akin to atavism and the strain of some ancestral painter is in his veins, guiding his inspiration. However it may be, these canvases soon to be on view as a collection, reveal the man as thoroughly as his conversation. His friend, Cyrus E.
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EXAMPLES..OF PAINTING AND. SCULPTURE 125 SAN FERNANDO MISSION By John Hafen Dallin, the eminent sculptor, on receipt of a gift of a painting, wrote: “I can feel the sweet, clear, limpid air of my boyhood memories, and the exquisite blue and purple shadows play hide and seek among the cliffs and chasms of my rugged old playmate, while the rosy light of the depart- ing sun places an aureole of beauty and majesty on his brow that my heart leaps to see. * * * JT was back again among the eternal hills and my spirit was exalted and dwelt among the old illusions of childhood. * * * You are developing along the logical lines of a true artist and this work reveals the possibilities that I have predicted of you. * * * I love mountains with a passionate love and your picture not only brings the mountains back to me but the delicate, elusive, exquisite effects of the evening glow haunts me like a spirit, and I can feel the spiritual and moral uplift that the mountains always give me.” Such a tribute from one artist to another speaks volumes and Mr. Hafen can continue his work knowing that still wider appreciation will come. Mr. Hafen in a personal interview states though he values a tech- nical training in art, the artist must paint as he feels and not as the science
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MY MOUNTAIN HOME By John Hafen “ HAYSTACKS IN FIELD : By John Hafen
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EXAMPLES OF PAINTING AND SCULPTURE 17 of technique demands. Technique is subordinate to temperament al- though skilled training should be a feature of an artist’s career. During his student days in Paris, under Benjamin Constant in particular, he felt the desire to acquire correct technique, but that should be involuntary to the artist under emotion, and he will then present the proper interpre- tation. It was like a breath of pure, mountain air to meet John Hafen, tran- quil and smiling, who talked gently of his mountains, their moods, color- ing and atmospheric effects. Untouched by the world, this charming gentleman voiced the beauty of those mighty temples of nature. In “My Mountain Home” the distance, the compelling vista of the unknown heights, the tiny village in the valley are delightfully shrouded in a gentle haze, or glory of a thin veil through which mortals may be allowed to peer into the marvel of creation. The spectator must not gaze upon a picture from the viewpoint of the gallery floor, but should transport him- self to the country, the scene, eliminating all immediate surroundings of the hour. Time alone and concentration yield the full pleasure of emotion in enjoyment of a picture. In Hafen’s pictures there is always that charm of the unknown, the vague, mysterious, intangible quality which awes one to silence rather than ecstatic exclamation; the morn or eve, the fitful glow in changing clouds and the tints of the declining sun. Above, within and about these scenes, there is a spirit of joyousness—never gloom nor despair. Utah has reason to be proud of this man whose work is appealing in that it has a voice, a message, and that it is not commonplace. Other paintings have been on exhibition in Chicago, notably, “Sunset on Timpa- noqua,” which is a delightful remembrance to many. His pictures are dreams transferred to canvas which is more than art, than talent or genius—it is inspiration. The modern spirit, the delicacy, refinement and sentiment which pervade, no, dominate, Mr. Hafen’s art is unique in that it is wholly an unexpected happening to find this spirit and such qualities emanating from Salt Lake City, Utah. Springville is the home town of Mr. Hafen, however, but it nestles beneath the beautiful mountains he loves so well. A bleak stretch of sand on the coast of Maine, “Ogunquit Sands,” is another phase of melody to Dr. Joseph Elliot Colburn. From the blue rolling waves in the distance, which spend their force in feathery surf upon the red-brown sandy beach, to the laborers with their straining horses and heavily laden carts, there is a deep-toned octave of powerful tones which makes the scene realistic through its colorful qualities. On the beach of moist sand, the vast ocean stretches its limitless power be- yond the eye of man in a deep, rich blue which is a fitting complement to the red-brown coloring upon which the straining animals plod. Here perspective reaches its invisible point most excellently and the composi- tion conveys its truth of nature. Dr. Colburn has many other fine can- vases to his credit which have met with favor in other cities as well as Chicago, as his preference appears to be for marine effects in which “The Bayou,” “Astern” and “The Inlet’ figure. “Hillside Farms,’ a water color, was an attractive bit at one of the exhibitions by the Chicago artists, of which society he is an active mem-
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ie TENA eae Ot ee ENG: ANE SCULP EVURE REVERIE By Eleanor R. Colburn ber. On the easel many charming scenes are receiving the loving appre- ciation of one who is in touch with nature and who wields the brush for pleasure and relaxation largely. Eleanor R. Colburn made a fine presentation of good pictures at the February exhibition, which were largely figure pieces. “Innocence,” which will grace the gallery of an enthusiastic Chicago collector, was notable for its purity and beauty, a young child seated near a pool of deep blue. The white gown was well done, the green and the blue harmonize as a setting for the innocent creature. ‘Reverie,’ here reproduced, was broad and forceful in technique, the color vibrant as the sunshine fell upon the maid who carelessly rests against the tree in unstudied grace. The sunshine and color of her life are pictured in her surroundings, she is pensive as the music of nature, the bees, birds and insect notes hum and murmur in unceasing song, but the future, that mysterious, uncon- scious maidenhood she feels stirring within her, lies beyond, but the mystic veil of uncertainty, of the unknown, envelopes her, as does the sweet warmth of that summer day. Beyond doubt, Mrs. Colburn, whose
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EXAMPLES -OFf PAINT TAG AND SCULS TURE | rep “Gathering Kelp—Main Coast” is known as associated with the painter of “Ogunquit Sands,” her talented husband, devotes her time and thought to figure work. Two others were “Betty” and “Good-night,”’ which re- vealed her diligence and intelligence of method in their portrayal. At their summer home on the coast, Dr. and Mrs. Colburn are of the colony of artists who congregate in joyous freedom to wrest from nature the secret of color, light and motion. Charles Woodbury is pres- ent and his influence is felt in the marines by Dr. Colburn. One of the most attractive groups of pastel at the Chicago artists’ exhibit last month at the Art Institute, was that of Alice Helm French, which included “The Terrace,” a most inviting and picturesque view of Daniel Chester French’s (the eminent sculptor) lovely home. Color lends decorative effect to the green lawn redolent of the odor of earth in sum- mer. Mrs. French, who by the way, is the wife of Director W. M. R. French of the Institute, exhibited “The Snow-Storm,” “White Oaks and Evergreens,’ “The Old Willows” and “Mid-Winter” sketched from the window of her home at Beverly Hills. Much interest has been expressed in a new candidate for public favor whose paintings are at Moulton’s galleries. He is a young man, a Swedish artist by birth, but an American by adoption. Mr. A. Arnold has a tendency toward the eerie and weird, as his compositions reveal roads and streams under golden color bathed in a blue atmosphere. Blue and orange are the colors most favored by this young artist of the west, who took his sketches to Childe Hassam and Murphey and others, to know what he had accomplished and what he might accomplish. This fearless procedure resulted in encouragement in statements that he showed unusual talent and individuality with ultimate recognition. To this end, young Arnold has labored lovingly with his impressive, decorative com- OGUNQUIT SANDS-MAINE COAST By Joseph Elliott Colburn
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io 6 PRAM PLES HOF: PAINTING AND: SCULPTURE ISLAND OF THE FAY By A. Arnold positions which would be most effectively used in mural decoration. The moonlight atmosphere is not cold as the golden glow of full moons re- flected in stream and casting shadows along winding roads, warms and tones the canvas to life and feeling. Academic training has not been the means by which Mr. Arnold has acquired his progress, as at present his. preference is for individual effort, profiting by experience which he be- lieves is a surer method to attain his standard. The reproduction of “Island of the Fay” is from his most recent work exhibited which elicited much favorable comment and critical study by the art colony and the public. Among his national associates, Mr. Arnold has been welcomed as a rising young artist and one enthusiastic purchaser familiar with the Royal Academy of Guttenborg highly complimented him upon his suc- cessful treatment and most difficult interpretation. There are numerous flower painters in the world and each presents. his method, as was noticeable in those of the Glasgow school. Paul de
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EXAMPLES OF PAINTING AND SCULPTURE. 131- ROSES By Julia Collins Stohr Longpre enjoys an enviable distinction and Van Huysam of 1735 may be used as a strong contrast. There are many artists who take flower paint- ing seriously, not for decorative purposes, but as in the Pre-Raphaelite and Botticelli periods when they seemed a part of the divine women who trod or floated on them. Julia Collins Stohr had an interesting and ex- quisite flower piece in water color in the “Roses,” which is suggestive of Japanese composition in color and handling. It occupied a conspicuous position in the recent exhibition near the Albright group of children at play, and the accompanying piece of “Phlox” was equally as well painted. Mrs. Stohr also exhibited “Lake Michigan,” an oil which proved a delight and held its own among other and stronger toned pictures, although Charles Hallberg’s lovely marine was another opalescent and luminous example of the treacherous body of water. Mrs. Stohr, while a resident of Chicago,
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ie RAAMI eee OF PAINTING AND SCULPTURE MARINE By Charles Hallberg was born at Toledo, Ohio, but studied at Cooper Institute in New York, receiving honorable mention while there. While a student at the Art Students’ League (N. Y. she was under Beckwith, Cox, Weir and Chase, afterward studying water color with Frederick Freer, and landscape with W.L. Lathrop. Her activity is great, as she spends her summers in her studio home in New Jersey near a large artists’ colony numbering Red- field, Lathrop, Charlotte B. Coman, Charles Rosen and others. As a member of the Art Workers’ Guild (St. Paul, Minn.) and Minnesota State Art Society, an idea of her breadth and energy is suggested. In the Art Institute exhibit last month these two flower pieces evidence her delicacy and refined treatment of an art which Madelaine Le Maire and Fantin Le Tour have lifted to a high standard. Mrs. Stohr’s marine was a gem in its translucent tone values, its gentle movement and its delicate lighting. Other flower paintings, such as by Estol Wilson, “Peonies,”’ and Hallie C. Hyde’s “Chrysanthemums,” recall that Chicago boasts of other exhibitors, as Anna Holmes, Lydia Dunham Smith, Eleanor Rorabeck. whose work is in demand.
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THE FORTUNE Fe LCR Mora F By Louis
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ooo ce ig x x = : por sth suds = li “ : : se. ee a i, ll yi nt i i gt i ll PL AMMAR 8 8 ot fe te a 2 te Demin hte Sdn Be Saf ont * ili te iy Biting st Crap BE. The BH ‘ = Pe ee = “ Pe SOA tn al = = me “ Fa OY sae * % Fa yr . > Soa ~~ es BRM GA Pee: taste as cde Pes ditt Nee ee ert x: Be omar REE Che Sale ee. uae ago gum Me ee RSSCCER EEC R CCR eee eae oe SES eER ES aa SASRSAS ASA SAMs & Pac eee ee ETB CRY Se oO Ow we eee eee ee ile : a* a? We eearan ss ee ee de ee ema aon nt a ing ae OORT CRP GE EREZCE SEO SCTE ETE CEC EE EO basis jst ce oO —Courtesy of the Tobey Furniture Co. KHIVA RUG
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TYPES OF ORIER DS 2G 5 By EDMUND BUCKLEY-The University of Chicago OUR or five decades ago the Oriental rug was a curi- osity to most people, now it is nothing less than a necessity to the furnishing of a home at once cultivated and well-to-do. Any person of mature years, must have observed this change, and the customs returns showing an annual increase, both large and continu- ous, prove it beyond all doubt. Indeed the unexpected demand has imparted new industrial life throughout western Asia, and has made prices so to soar that rugs bought in the early days are now worth several times their original cost. Despite this general possession of the Oriental rug, it is doubtful whether one owner in a score has bothered to acquire more knowledge about them than was picked up during their purchase, and most of this must have passed promptly out of mind. Yet, if anything, whatsoever in art is worth while, that must be to appreciate the common objects of life, whether these are natural or made by man. But artistic appreciation makes absolute demand of careful analysis for mass, line, color, tone and texture, those five fingers of beauty by use of which she binds us to herself. And, besides these elements of pure art, there are numerous traits of Oriental rugs which involve ethnology; for these various fabrics are made by various peoples belonging to various races, with temperaments very different from our own, and living under conditions both physical and social to which we are utter strangers. In view of these facts, it must prove interesting to take at least an introductory survey of the various weaves, by examining one typical specimen of each. Identity between any two Oriental rugs is not to be expected, of course; but neither, on the other hand, is every Shirvan or even Saruk rug satisfactory in both its material and artistic qualities. What is needed in a rug is conformity to the type that won fame for it. There are even bad angels, if there are any at all; and certainly there are poor Oriental rugs. Some of these become “stickers” in the store, and in time reach the low estate of the bargain sale, but many are unwittingly chosen by buyers not yet exercised to discern good and evil in these foreign wares. To them the following appreciations of typical speci- mens should prove of value, and even the practiced lover of Oriental rugs will take interest in fine examples, not to mention any sincere at- tempt to appreciate them. As taste improves and opportunity offers, one should secure choicer pieces and dispose of his outgrown ones to less critical persons. Antiques are almost invariably excellent, but equally good are those modern specimens that conform to the old type, what
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136 TVEPEesS "OF ORIEN TAL BUGS SHIRAZ RUG —Courtesy of the Tobey Furniture Co. may be called practical antiques, and they will grow into real antiques all in good time! Oriental rugs are commonly and properly classed according to the peoples producing them; the Caucasians, to the north and south of the Caucasus mountains; the Turkomans in Turkestan, Afghanistan, and Beluchistan; the Turkish people, but only in Asia Minor; and the Persians. Much that might be stated here as to the distinctive traits of these classes will prove more useful if distributed as introduction to each class in turn, since there the invaluable aid of illustration will be at hand." The Caucasian class has for its principal members the Daghestan, Shirvan, Kabistan, Kazak, Soumak, and Mosul weaves. Their designs share the geometric style with those of Turkish and Turkoman origin, but exhibit a marked difference from these by the general practice of filling vacant spaces, left by their large diagonal forms, with loosely placed, small figures, such as blooms, animals, stars, moons, clouds, and the like. These elements are used simply as space fillers, disconnected with the main lines of the design, and the blooms are without either stalk or stem. Where the vine is used for borders, it is made to run straight and is turned at sharp angles, it is rectilinear and angular. This class- diagnosis by lines is the more important because color becomes a char- acteristic for only a few weaves, and the same holds true about tones ‘The writer is indebted to the courtesy of Mr. J. B. Bezazian of Chicago, IIL. for information on many technical details concerning the weaves of Oriental rugs, such as are likely to be known only to a life-long expert in the craft.
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EY PES Of ORTEN LAL RG 137 (amounts of light and dark). Both warp and weft are usually of wool, and the woolen pile varies considerably in length from the closely clipped Shirvans to the long-haired Kazaks. As to sizes, only the Soumak (Kashmir) rugs reach carpet dimensions, the Kazaks rank next, while the others average four by six feet, and are therefore best placed along- side a table, sofa, or bed. Our photo-etching of the Shirvan rug can give no hint of its praise- worthy restraint in coloration, which is limited to brown and blue, while ample variety is secured from its five tones of the brown—from buff to seal—and its two tones of the blue. This coloration would make the rug coalesce perfectly with a golden-oak floor, and is found in perhaps a plurality of all Shirvan rugs. The design is representative of this Shirvan together with the Daghestan and Kabistan weaves; namely, not only geometric but mosaic-like in its precise, small and medium sized, numerous, very various, and often diagonal devices. No two of these traits are present in any other rug except ‘one style of the Shiraz, so that identification is still possible, despite the great variety of designs. The warp of the Shirvan is a brown or a gray wool, the weft also wool, the woolen pile is cut short, and the ends are finished with a very nar- row web and a long fringe. The district of Shirvan, where the rug 1s woven, lies between the Caucasus mountains and the Caspian sea. Its kindred from Daghestan, have become so scarce that detailed descrip- tion of them in a summary is hardly worth while. Fortunately, while the Kabistan rug is so similar in quality, design and color to the Daghestan, that dealers can sell one for the other, it has not yet become so exceedingly scarce. Its texture is indeed finer than that of either Daghestan or Shirvan, so that it marks the acme of the Caucasian class. In rugs of this Kabistan weave, the field is often fig- ured with elongated stars or else diamonds placed transversely to the ea ee i tee By Bey Be reybravecacueterenrecstcscetcaie sou; eevee eeveresvecacereceecerecereecpLecscecececee ss Acki#t : rt “an uly ay he A _ eS ee ae ge *£e2 ee we a Oe aes Pa”) ee ae ras So iy ree © oe wre we = 3. #ee8 e OR ae aE FA Re at al tae ee eS a eee a ee a 2 * : * * ‘ ‘ ‘ a # * « ’ * a 4 ® * e s ‘ fy { = ae eer a fla: A SRERIPER URE ESEDEDOGRIRINSEE IRE ON OEE AEE ERED THERIOT ESE SERED ESET ESE TEN SOUMAK OR KASHMIR RUG —Courtesy of the Tobey Furniture Co.
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nome esaentreee tat an ge ena, peta hae Secon aC STS, Sey sammaaeeatie recta” e ' + és * “ wt J i ime EL NE Ge A Ie SENG A) 4 . ae i | ’ = “ * $4 eaten sma masa dione - Sere es BOGS is. BS. es paicneranaoet nett anemcey - ~m ZANT VES, TA HAREPENNS THR oe ¥, tA: a1? an OE 4 ian * We ool cnet aetna ee cAX RISEht Siitemintatiictenanndi teeta mae AVAYARY AAY CARA Re be avy *® VARY? sae Ava RUNNER —Courtesy of the Tobey Furniture Co. KABISTAN KAZAK RUG
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TYPES OF ORIENTAL RUGS 139 field, but our antique runner or hall-rug specimen (9-4 by 2-10 feet) helps us forward with a procession of butterflies or the like, so conven- tionalized, however, as to avoid being realistically obtrusive. The ob- long figures ranged along each side of the field are placed between two latch-hooks, each pair of which is turned in a direction different from its neighbor, and thus effectually avoids monotony, that béte noire of all art. The wide border has an obvious version of the vine and cup pat- tern, while its guard borders on either side show the reciprocal trefoil, both patterns being characteristic of the Caucasian class. The figures of the field are wrought in ivory and ruby on a blue ground, those of the widest border on an ivory ground, the dominant colors being the blue and ivory frequently seen in Caucasian rugs. These fine fabrics are woven in the district of Kuba, at the eastern end of the Caucasus moun- tains, whence their name should properly be Kubistan. Unlike other Caucasian rugs, the weft and sometimes also the warp are made of cotton. Kazak is just the original form of the name Cossack, which ts familiar to the world as designation for the brutal Russian cavalry, but belongs also to nomads, that roam the steppes of Turkestan, an offshoot of whom ranges about Lake Goktcha, and there makes one of the heaviest of known rugs. Its weave is peculiar in that the long pile over- laps instead of simply slanting as in all other rugs. The desigi is as proper to rough nomads as is the weave, comprising big, bold, angular figures with various small ones—frequently the tarantula in any size—to fill in, all in archaic drawing and bright color. Our example is quite typical with its three immense hexagons counterplaying effectively against the broad border, while four diamonds counterplay in turn with the hexagons. These last are occupied with boldly drawn clouds and stars, and probably the device in the panel represents a man kneeling in worship of these nature powers; all being so conventionalized as to escape the Mohammedan prohibition against making the likeness of anything in heaven above or the earth beneath. The middle border shows the vine and cup motive, but here the cup has lost its top, and is therefore not so obvious as in the Shirvan specimen. The usual rough fringe may be omitted from one end, to allow the web to be hemmed down. | The Soumak weave is quite singular among all Oriental rugs, by reason of its pileless surface and the loose ends of yarn which show at its back. The latter trait affords a superficial resemblance to the shawls made in Kashmir, India, and has led dealers to name the rug after the shawl, though its proper name is Soumak, from Shemakha, a city south of the Caucasus mountains, where the rug is woven. Three medallions, each with a radial arrangement of spear-like objects, make a bold de- sign for the field; while this particular latch-hook border and the star border next to it are both distinctive of the Soumak weave. ‘The fa- vorite colors in use are red and blue. and the texture is solid but neces- sarily hard and bare, lacking that delightful depth of surface and pleas- ant play of tone afforded by the pile on all other Oriental rugs. The shapes are more nearly square than usual, and the sizes range from 4x6 to 9x 12 feet.
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140 22S OF ORIENTAL REGS ROYAL BOKHARA RUG —Courtesy of the Tobey Furniture Co. Mosul rugs, though some are made by Kurdish nomads related to Persians, and all are marketed in the Turkish city of Mosul (from which our term muslin is derived), are classed here with the Caucasians, be- cause the type borrowed its geometric design from that group. This design, however, is much cruder, as also the pile is longer than in the products of the rather more civilized peoples of Caucasia. Two general traits of this weave are both present in our antique example; the soft, flocky quality of the wool, and the prevalence of luminous browns in the coloration. These browns make excellent monochromy with our favorite golden-oak floors, while the bold design comports well with craftsman furniture. Dyes, wool and workmanship are honestly good, and hard lines are softened by pervasive play of tone in each color used. No distinctive design marks this weave; and, in fact, the antiques differ more among each other than do those of any other name. Considerable unity is imparted to the design in our example by the conformity of all its medallions to the hexagonal shape, as also by the radial arrange- ment of the device within each. The lopping of about one-third from each hexagon that adjoins a border, produces an odd effect of motion, as if the whole design were marching across the field. Irregular bits are used to fill in interstices, after the Caucasian style. Warp and weft are both made of dark wool, and ends are selvaged. Sizes vary from 3x 5° to 5 x 9, besides runners. The Turkoman fabrics present a type not less individual, interesting. _and beautiful than that of the Caucasians just described. They are
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TYPES OF OREENTAL: BGS I4I woven by the nomadic tribes that traverse central Asia, are firm and durable in both material and dye, and contain some models of fineness and solidity. A material feature common to all is the wide web at each end, usually colored to accord with the dominant color of the rug. Only the Shiraz weave, among all the others, possesses the same appendage. Notice will be made in turn of the Bokhara, Afghan, Khiva and Beluchistan weaves. The rug we name Bokhara was never more than marketed at the city of that name, and is woven by the truculent Tekke tribes that roam the plains west of the Oxus river. Some dealers name it Royal Bokhara, to distinguish from the Beshir and Yomud Bokharas, though neither ot the two is in general use. Barring some three or four Persian rugs. this Bokhara possesses the finest Weave of all Orientals, and its wool is —~—aiiite the best of all, being the most Hexible and_o most Hexible and oily. It adheres to a traditional pattern and color, which are easily recognizable and were \ among the first to win favor in this country. The color used is almost _ ~ NY wholly a glorious red, perhaps the best in the Orient, often haunted with a sungestion of marootas Tikewise with various lighter and darker tones, which, however, are produced simply by the Gne quality of the VF wool. In fitting contrast to this region of Ted Hes The Weep GUel CCST. \ ing blue or indigo of the pattern, lightened here and there by ivory or buff. This pattern always consists “of _octagons _ divided into quarters, - of which the diagonally opposite ones are colored alike, so that” a more ‘Or tess tagonal effect is is imparted’ “to” the whole ~ ert in pleasing contrast with the rectangular borders. The 6tttermost~of these borders at each end are not continued along the sides. Among the ten continu- ous borders, the widest, which shows a swastika within a tarantula, is BOKHARA PRAYER RUG —Courtesy of the Tobey Furniture Co.
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Pe ate Ra nee MENS Rin, 142 tae he OF ORIENTAL RUGS unusual.and.considerably diminishes the size of the field in our speci- men. The wide border, outside this widest one, contains a device beauti- ful by reason of its simple and clear combination of both straight and curved lines, and it has a diagonally striped barder as a guard on each side. The inside group may be described as a pyramid border, with a niche border on either side. These_Bokharas come mostly in small and medium sizes,but.of late are seen also about 7 x 9 in dimension. ° “The prayer Bokhara presents a totally different aspect from the floor rug just described, but clings with equal steadfastness to its one design, which is conspicuously rectilinear and also parallel with the borders. The great bands spanning the field are perhaps nothing more than borders put to a new use, and the pattern around them is formed from conventional trees. The three wide borders seem to be broken versions of simple geometric figures: the square on the outside border, the diamond on the inside, and the triangle on the middle one. This outside border, with its diagonally striped guards, is a constant trait of the weave. Our example has a rich red ground and is patterned in indigo and buff; but many specimens show much maroon, and others various tones of orange-yellow in a tawny effect, suggestive of a tiger skin, than which nothing on earth could be more accordant with our golden- oak floors. Such accordance has already been twice noted, and is of prime importance to a refined color sense. The use of the prayer rug restricts its size to the medium, and the prayer Bokhara tends towards the square in shape. The rugs really made in Bokhara province, are sometimes called Afghans. but commonly Khivas. They may be briefly described as mag- nified Bokharas, being larger both in size and pattern, rather coarser in yypurtt fALf WAY? AYA YAY PLO LY LPs ff PAYA SFIS J Ti a TAS: 3 NY i Ni VAS MANY WALZ RAK ; jf MAAN] of / i ‘ yf 5 i NAS AVY) 4 ~ AN sh. PISA SALN ys in YS WIN a) indie’ ih AYA atv’ Ya eat AWSEMT “4 Mt “ania MW aliita iY] ‘f *‘, PA & ae ii a * & om < bn iat Me is, »/ of : a = | 7 TAYTAY J«! TAR A ARTA) ALITA TAM Yad if ni 5 Pe Tes wis s f e eas NV Wy X4 a | w at 4 ad o . 7 LY dite 1 ds {ie AN & AFGHAN RUG —Courtesy of the Tobey Furniture Co.
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TYPES OF ORIENTAL 20 Cs 143 GHIORDES PRAYER RUG —Courtesy of the Tobey Furniture Co. weave, and thicker in pile. Our specimen is an antique, glorious with the fine luster attained by superior wool, under gentle usage. Here and there it glows with ruddy light, even from the tips of its pile, shimmering like a field of wheat stirred by the wind. The ground color is a rich, deep red, while the octagons have their opposite quarters respectively in full red and indigo. These two tones of red stamp the rug with a distinction of beauty impossible to a single tone, however fine its color may be; while the indigo preserves the composition from hotness, helped therein by a turquoise floral device between the rows of octagons. Finally, tiny blooms in ivory make the rug sparkle with high lights. Both warp and weft are composed of goat’s biel or dark wool; ee the side selvage, of three or four strands overcast, is also made from goat’s hair. The -ends are webbed or in plain pile. Sizes are usually large, from 6x9 to 8x10 feet. (See illustration on p. 134.) Another member of this group is the Afghanistan, which resembles the prayer Bokhara in its broad crossing bands and its tree—here doubled —pattern for the interspaces. In depth of tone and in luster it. resembles the Beluchistan, and its red inclines, like that of many Bokharas, to maroon. Both warp and the side selvage are usually of goat’s hair, the pile is close, and one end, but usually both, is webbed. The average size is 5X7 feet. . 3 Among the Turkoman class, but originating far to the southward, is the Beluchistan rug, easily distinguished from all others by its. dark tones, combined with lack of high lights. Under these conditions, the red, brown, and blue of the coloration assume the general. appearance of a bronzy beetle, and as such make exceedingly handsome and fitting floor coverings, while they scheme with any color or tone surrounding them. ake
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144 TVTES: OF - ORIENTAL. RUGS , A high luster makes amends for the lack of high lights, and therewith accent in tone. The designs are usually geometrical devices of a moderate and uniform size that promotes both unity and repose. The device in a typical specimen is a conventional butterfly, which is drawn radial in type and therefore excellent for beauty. The borders likewise are simple and effective; first, a reciprocal battlement, then an elongated star, next another reciprocating device with latch-hooks, and finally a neatly waving ribbon. These Beluchistans are probably the best moder- ately priced rugs now in the market, and are further desired because obtainable in such small sizes as 2x 3% feet, though generally around 4x6, and also found up to 6x9 size. Warp and weft are alike wool, and there is a narrow selvage and a wide, patterned web. Far fewer Turkish rugs are shown and sold in America than those of any other class; and with good reason, for their quality has deteriorated the most, or otherwise their price risen the highest for their weave, of any rug in the market. Yet the beauty of both line and color displayed is at once so obvious and so distinctive as to command continued atten- tion and to merit mention here, at least of the most famous weaves: the Ghiordes, Bergamo and Ladik. Here especially it is well to dis- tinguish antiques, with the few moderns that rise to their standard, from the bulk of the rugs that bear the honored names indeed, but show only a travesty of their qualities. The name Ghiordes is revered by the Turk, not only as representa- tive of the city, some fifty miles from Smyrna, which tradition connects with Gordium, home of the Gordian ‘knot that Alexander the Great cut with his sword; but because in that city have long been woven rugs a pe FS : : ve & 57 iS eS. 0 oe oh oe Oe Os oe ae Ee SIESSOCISSS BAS CASS ¥ x el )) ' eae e 4 + S . J bd / Spe FAS RLOKGRSEOSEOSC BERGAMO RUG. —Courtesy of the Tobey Furniture Co.
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TYPES “OF ORPERIAL-AUGS 145... which attain the climax of excellence, being the only Turkish rivals of the best Persian rugs and the Bokhara for fineness of weave and quality of wool. Our example has a pile as short and almost as close as that on velveteen. Manifestly superfine likewise is the art displayed here, and this has two distinctive traits. First, the whole gamut of colors, warm and cool alike, is either grayed or shaded into a tenderness not attainable » otherwise; so that, were the figures representative instead of decorative, one might speak here of a “tone picture.” Second, a rare unity has been achieved by making one color, a deep ivory, prominent in the field © and wholly dominant in the numerous and wide borders. Such toning and coloration afford ample fortune for any rug, but its line is perhaps a match for them in the fascination of its minute angular drawing, a refinement of line quite congruous with that of the tone and color. The vegetal forms of leaf and bloom show contours which are broken finely, whereas the Caucasian contours are coarse; and these forms are - also either natural or varied, whereas the Caucasians again are regularly geometrical; so that the Ghiordes may be said to stand midway between | the crude Caucasian and the realistic Persian, and thus to attain a bril- liance of effect unique to itself. Of the three widest borders, the outer one displays a flowering vine; the middle one, a well related group of leaf, blooms and seeds, and the inner one, another waving vine with leaves and blooms directed, for the sake of balance, alternately right and © left. After lavishing minute design on these numerous borders, eight in all, the weaver enhanced their value by making the central mass a plain mossy green, here more inclined to olive, there less so; but everywhere vibrant with life. This plain field very well indicates the open interior - of the mosque with prayer niche at one end—for the specimen is a mosque prayer rug—and lamp hanging from above. The niche of the Ghiordes prayer rug has a peculiar form, in that it is tall and has the angles at its base and apex broken instead of pointed. The tree of life, which is generally found upon a prayer rug, is placed here around the - central plain space. A final peculiarity is the silk binding along the sides of the rug. The size is 4-5 x6 feet, which is also the average - in this weave. The Bergamo rug (6-3 x 8-3 feet in size) represented here is . an indubitable aristocrat, being not only an antique of long life, but arrayed in royal robes of mellowed purple, and equally distinguished in its line. In. view of the fact that a rug is invariably oblong, that the - four sides of its border are also oblongs, and its field therefore oblong, the designer commonly, and with good reason, contrives either a curved © or diagonal device for the field. In our example he did nothing of the kind, but only piled more oblongs upon oblongs, and in this manner achieved a powerful effect of straightness. However the designer wisely pointed the ends of his central oblongs, and thus furnished diagonals . just sufficient to save the design from unendurably interminable rect- angularity! Then, in the wide side borders, this caution expanded to generosity with a succession of diamond devices which counterplay diag- onally with the narrow borders on either side. These diamonds are mustered in rank like soldiers, and wear the same uniform—here one tarantula enclosed within another—but they differ in color as widely as -
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146 Lee ee OP ORIENFAL RUGS LADIK MAT —Courtesy of the Tobey Furniture Co. - soldiers must do in courage, and it is hard to determine which is bravest. This dominance of straight lines particularly fits the rug for company with the sturdy Craftsman furniture on a dark oak floor in library or living room, while its glowing colors would admirably relieve the som- berness of the same. These colors are so various as to suggest an old- time sampler; but there the comparison ends, for they are combined with a consummate skill to which our forbears of Colonial times were strangers. First, there is an intermingling of red and blue in the recip- rocal vine pattern spread over the field, which blends at the proper optical distance into a rich and vibrant purple, aided therein by the broad masses of its complementary color, green, which bound it at each end. Such blending into purple sometimes occurs in the narrow borders of Caucasian rugs, but in masses like this field only in the Turkish; and the tender tone of solid claret, which covers the central panel, is peculiar, moreover, to the Bergamo weave. These mellow purples recall the Tyrian dyes, famous of old; and may easily be a tradition from them. The quality of the unequivocally vegetal dyes of this precious antique is equally pure and soft, while the wool bears a bloom so soft as to endure light from any direction without loss of saturation in the colors. Finally, the rug shows individuality to the extent of caprices, which must have afforded its weaver particular delight. The animalesque figure which breaks the rank of the diamonds in the right-hand border imparts the mild shock which in literature we call a joke. Again, the strips of vine that cross the three central panels are elusively irregular in both color and length, and the rows of trees, each in its frame, that bound the field at its two ends terminate in irregularly broken units. Such individual touches remove the rug indefinitely far from a machine-made product, and bestow upon it a
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TYRES: OF GRIENZAL BUGS 147 tg WEA ee ea LOREAL EOP EOSTOR Jig eg yt dX Pe 7 45. OS Tae JRUBY ot os " + ei : pee eh ey ANTIQUE FERAGHAN RUG —Courtesy of the Tobey Furniture Co. perennial charm. Bergamo, the city from which the rugs take name, will seem more familiar when recognized as the modern form of Per- gamos, once seat of the famous altar of Zeus, and subsequently of an apostolic church. Laodicea, seat of another primitive church, is now known as Ladik, and makes the rugs of that name. These closely resemble their neighbors of Bergamo in both design and weave, whereas their size is smaller, mat size and 3x4 or 3x5, and their shape inclines to be wider in pro- portion to length than in other Turkish rugs. Our example happens to be an antique pillow-top, only I-10 x 3-4 feet, which is used by us as a door mat. Its design shows a plentitude of conventional motives, the interpretation of which would tax an archzlogical Sherlock Holmes, and will not be attempted here. Better far to be thus meaningless than so realistic as to forbid that one either recline or tread upon the article. Enough that all’ the elements are angularly strong and _ interestingly varied. eee eee Rugs of the great Persian class have been reserved for treatment last, because.they both make a group apart from the other three classes, and stand the highest in their art quality. That some exceptions to the following distinctions between the Caucasians, Turkomans and Turkish on the one side and the ‘Persians on the other can be found is no ‘matter of surprise, when the intimate relations of these peoples for long cen- turies is borne in mind. And, furthermore, longer observation may require the present writer to modify, though hardly to recall, the second and third distinctions about to be made; for, though they have become obvious to him, they are nowhere confirmed in record so far as he recalls. First, the Persians possess a finer technique, and this enables them to represent curvilinear forms, whether in flowers or medallions.
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148 ere wees ORTEN TAL: RUGS Second, they show a finer perception, inasmuch as they include leaves in their design, whereas the interest of nomadic weavers is limited to the more showy blooms, just as our children gather posies of them to the entire neglect of leaves. Indeed it is few of our adults that have art culture sufficient to bestow attention on the masses, contours, colors, tones and texture of leaves, endlessly though these may deserve it. But the keen-sensed Japanese cultivate certain plants expressly for beauty of leaf, and artists of every land necessarily regard this less obvious charm of the vegetal world. Third, the Persians exercise a finer compo- sition, adding stalks and stems to their blooms and leaves, in order to combine them into higher units. Of these superior rugs, we shall consider the Feraghan, Saraband, Hamadan, Saruk and Kashan from central Persia; the Kermanshah, Sehna and Kurdistan from the western region; the Gorevan from north Persia; and the Shiraz from south. The Tabriz weave is omitted, be- cause of its lack of adherence to ancestral originality of design and coloring; and several other weaves, because of their less importance. All Persian rugs use cotton for both warp and weft, except that the Kurdistan and Shiraz use wool in both. All have overcast instead of selvaged sides, and only a narrow web, except that the Shiraz has a wide one. The Feraghan claims our especial regard because it forms the ideal rug of the Persian himself. The Herati pattern, almost distinctive of this weave, belongs to the all-over type, is neither minute nor big, is cen- turies old, and a model of composition, with rows vertical, horizontal and diagonal, all present but none obtrusive, and admitting of most refined effects in coloration. In our antique specimen, this is mostly two tones of rich red with enough grayed blue to cool, and ivory to make sparkle; for this ivory is judiciously used on fine contours, and never in masses either large or small. The Persians may well prefer a beauty so refined, so elusive, and so liveable. As for interpretation, the diag- Cy FO mers, re Oe aI 4 OY, WO eles ( i VAY pw 0 lan wk’ BO EF OS MACE cea S SEE Bn ty mia arm one eras << Sd a) 5" ? «4, la: =: é, vd « al ee FF" ~~, vA ay i Bx Or EXY. Se, D4 a A G a - s Ae NOS. gC ie aC: XAG SARABAND RUG —Courtesy of the Tobey Furniture Co.
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TYPES OF ORIENTAL RUGS 149 onal elements are probably leaves, sometimes however considered to be fish, and are balanced about a rosette. The row alternate with this group is mainly a diamond-shaped arabesque. The middle border con- tains modified hexagons surrounded by flowers, the guard borders show pears and rosettes placed alternately upon a waving vine, and both these patterns are well proportioned in size to that in the field. The ground color of the main border is green, just as that of the field is usually indigo. The range of sizes may be held complete, except for large HAMADAN RUNNER —Courtesy of the Tobey Furniture Co. squarish shapes. Modern products in this weave show much de- generation. The Saraband—a corruption of the district-name Sarawan—carries simplicity of design to its extreme terms, using nothing more than rows of so-called pears for its field, and numerous narrow strips for borders. But the design is masterlv all the same. In the first place, this pear figure enjoys the surpassing beauty of ovate curvature; then, a subtle balance is gained by turning alternate rows of these pears in opposite directions; and, finally, the narrowness of the borders is pre- cisely proportioned to the smallness of the pear forms. Of these borders, the central one has the undulating vine for its framework with the pervasive pear for center, the guards to this border show the vine again, and the outermost borders present the reciprocal trefoil found in some Caucasian fabrics. The coloration is as simple as the pattern, taking either ruby or indigo for ground of the field and always ivory for the ground of the widest border. This darkness of the tones in the field comports with the quietness of the lines, and their ensemble means eminent composure to the observer. Our example is an antique, but the pear design is invariably used, and moreover is often adopted by other weaves, being known as the Mir pattern. Though variously designated a pear, cone, palm and river-loop; it probably originated, as Iskender Khan Coroyantz claims, in the chief ornament of the old Iranian crown, which, as Mr. Mumford plausibly holds, in its turn represented the flame once worshiped throughout Persia. The figure in our example is modified with an angular device near its tip. The Hamadan here illustrated is an antique, twelve feet long by over
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150 Tiree VE ORIEN FAL RUGS five feet wide. No weave can excel the Hamadan for use on hall or staircase, since the undyed camel’s hair, which enters into its compo- sition, renders it exceedingly solid and durable, as thick as a Kazak, but more compact than it. The camel’s hair furnishes a genial mid-brown for the ground of the large field, which is delicately patterned with a diaper of-darker tone, and for the quite plain border. This strong back- ground allows the use of brilliant colors in the bold hexagonal medallion and corners, which are filled with the Herati pattern just described in reference to the Feraghan rug. The decorated border shows a rare double version of the waving vine, filled in with blooms and rosettes. The Hamadans of mat size, say 3x4 feet, are admirably suited to use at doorways. : The Saruk rug gains immediate distinction from standing among the few finest weaves made, and enjoys such a cumulation of other superlative qualities that probable pre-eminence should be accorded it. In comparison with the likewise popular Kermanshah, it has a firmer wool, a finer weave, and a darker tone. Both are superb rugs, fitted for drawing-room use, the Saruk according best with elegant mahog- any furniture, which like it is dark toned and lustrous. The Saruk rug is extremely handsome in its masculine traits of bold contours for the SARUK RUG —Courtesy of the Tobey Furniture Co. .usual, quaintly fashioned medallion and field-corners, and of dark tones for its “old rose” and blue colors, which are preserved from somber- ness by the luminous ivory that usually overspreads the ground of the Saruk field. The decorative motives are manifestly Persian, being blooms stalked and stemmed into a composition, which is symmetrical to both the long and short axes of the rug. The very varied and ever suave sweep of the contours in the field is also characteristically Persian. Finally, the border shows, as all borders should, steady recurrence of a.
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TY PESO F ORIENTAL RUGS I51 : se ROYAL KASHAN RUG —Courtesy of the Tobey Furniture Co. few elements, in order effectually to bound the composition. The size ranges from near the smallest to the largest. Like unto this Saruk, but surpassing even its exceptional merits is the Kashan, named from the town of production in central Persia, which has for ages made fine pottery and silk rugs, but only within some five years wool ones, and these therefore are as yet rarely found in America. The pile of our specimen is made from superfine wool and counts an astonishing number of knots to the square inch, more in fact than any other weave. The pointed design at one end shows this to be a prayer rug in style, though it is too large for use as such, being 7-5 x 10-4 feet. Its design is the purely old Persian one of a vase sup- porting a flowering plant, the elements of which are distributed over the field in the equable yet ever varied manner proper to ornamentation. The red, orange, green and indigo figures of the design are small enough to leave the amber of the field in powerful mass, so that the color ensemble is that of a golden sunset seen through a trellis bearing in- numerable small flowers. This rug affords special interest as a chef d’oeuvre, a measure of man’s might in the standard art-craft of rug weaving. It was not done in a hurry, indeed was probably worked on only when the weaver felt at his best; and here, as elsewhere, leisure is the mother of art, leaving necessity the privilege of mothering invention. The group from western Persia may begin with the Kermanshah, easily distinguished from all other weaves by its delicate, light tones, on which account it is often in demand for maple, birch and natural stain mahogany furniture, especially where also the lines are graceful, as in the Louis XV style. No worse error could be made than to place
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152 Pereover ORLEN TAL RUGS this light-toned rug below dark-toned furniture of whatever color, or dark-toned wall paper. Light is from above, the shadows lie below. The highly lustrous nature of the wool which is used adds another con- gruous trait to the Kermanshah, and that, too, in the moderns, which alone are found in this weave. The designs are very various, but gen- erally follow the medallion and corner type, with choice patterns in the borders. Our example departs from the typical medallion design for a novel one in which four interlacing trees bear luxuriant blossoms with appropriate leaves and stems in the typical Persian style, yet all ordered into a balanced design. The coloration and toning are so minutely varied as to suggest a painting for comparison. There are, for example, some half-dozen tones of red, from daintiest tint to “old rose” and ful! brilliance. The greens also are several, and are gradated into luminous browns, while a ground of purest ivory softens and supports all. At the top of the field is a composition of blue, olive and lemon wrought with the utmost refinement. But wherever attention is directed, minutely studied beauties will be seen in this masterpiece of Persian rugcraft. The range of sizes in the Kermanshah is from small to the largest, made in fact with special purpose to meet the requirements of the modern American residence. The Sehna rug is short clipped and close knotted, and usually shows small pattern and minute variations of color. A favorite pattern is the Herati, already twice mentioned in this account, and the device is worked in a different color for each of the concentric medallions which are often introduced. The coloration is varied, and the usual size about 4x6 feet. Kurdistan fabrics stand high in all rug virtues, being woven by nomads who have not yet learned to work in a hurry. The use of hard- twisted and coarse wool for both warp and weft has yielded a stiffness * 4. , ad 3 ie Spe 5 SAS tons OT Nog at , KERMANSHAWH RUG : —Courtesy of the Tobey Furniture Co.
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TYPES OF (ORLEN DT Aaa aU es 153 SHIRAZ RUG —Courtesy of the Tobey Furniture Co. which distinguishes this weave and well adapts it for hard usage. The designs here are very diverse, some adopting the repetitive patterns of the Sehna or Saraband, while others prefer the large geometrical forms proper to Caucasian rugs. A mark generally found in Kurd rugs is a single line of colored wools, embroidered in the webbing across one or both ends. The sizes range from 4x7 to 12 x 20 feet. From northern Persia comes the Gorevan rug, closely related to the Herez and the Serapi, as the thick, angular drawing and the big, open design readily reveal. These rugs are made mostly in full carpet size, and are woven in a heavy pile of tough wool. Material and design con- spire therefore to fit them for use in library or dining-room, especially where these rooms have sturdy furniture and simple decorations. One specimen shows ampleness of bold design in its three medallions, a field, and corners—five planes in all, besides the borders. Its colors are red. buff and blue in about equal quantities, and in those equal and full tones which make one of the salient traits of the Gorevan rug. Finally, from the south of Persia, near the ancient Persepolis, comes the Shiraz rug, which may decorate its field in either one of three ways: with the pear pattern proper to Sarabands; with a succession of narrow stripes, sometimes plain, sometimes figured; or, finally, with large rectilinear shapes: complemented with small, scattering figures in the manner of the Caucasians. The finishing, however, is so peculiar as readily to distinguish the weave from all others. The sides are usually overcast in two or three colors, and have tufts of yarn placed at intervals of about one foot; while the ends have a narrow selvage bearing a check pattern in various colors, besides a broad web. Unlike Persian
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154 Tied oes OF ORIENTAL: ROGS rugs as a class, the Shiraz uses wool for both warp and weft. Our example resembles the Caucasian type in its three rectilinear and diag- onal medallions, bounded with latch-hooks, as well as in its floral and animal figures scattered loosely over the balance of the field. The double tarantulas make an excellent border. The ground color of the Shiraz, as here, is frequently a deep blue, upon which warm colors like red and ivory are laid. The weave is fairly fine, the pile of medium length, and the wool soft and lustrous. The range of sizes is from the medium to the large. These, then, are typical examples of Oriental rugs, that is, repre- sentative specimens of the various types; and just herein lies their distinctive charm, that they do belong to classes—Circassian, Turkoman, Turkish, and Persian—and in turn to the various weaves under each class, and that yet each one possesses an individuality that constitutes it a genuine work of art, with the mark of the tool and the choice of the craftsman wrought into it, an object unique in the world and a particular joy and pride to its owner. In fact these products share the personal interest to us of the men and women whose very hands fashioned them, and whose racial characters they reflect. It was doubtless this partici- pation in personality, combined with consummate beauty, that on one occasion made a display of Oriental rugs to a prospective purchaser impress the present writer like a slave auction, in which it would be a shame merely to barter bodies and a duty. to appreciate the souls within them, not decrying any and cherishing those that seemed worthy of acquisition. |
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A DEPARTMENT DEVOTED TO THE WORK OF THE NATIONAL ART SOCIETY Also CONTAINING CURRENT NEWS OF VALUE TO ART LOVERS THE WORLD OVER Conducted by MRS. ANNA L*’. (_McNULTY (This department has been opened at the re- quest of the members of the National Art So- ciety. Each issue will contain a report of new pete aaa clubs formed, and_ interesting notes. THE NATIONAL ART SOCIETY HE past month has been a most active one in the clubs of the United States. Washington’s birthday was delightfully celebrated by the Arche Club of Chicago. The addresses given were patriotic through and through: Mr. Levi H. Fuller on the “Des- cendants of the Mayflower’; Miss Cora B. Williams on the “Colonial Dames”; Mrs. Frances Sedgwick Smith on the “Daughters of the American Revolution’; Mrs. Robert Hall Wiles on the “Daughters of 1812”; Mr. Roswell H. Mason on the Loyal Legion; Judge Richard F. Tuthill on the Grand Army of the Republic, and Mrs. Robert F. Cummings on the Society of New Eng- land Women. The “History of the Amer- ican Flag” was delightfully given by Mrs. Hunter. Judge Tuthill was the orator of the day and spoke most feelingly of the patriotism displayed by a woman’s club, saying it was touching to the G. A. R. especially—the men who had put liberty and life in jeopardy to save the Union. The meeting was opened by a gavel presented to the Arche by Mrs. John Sidney McClelland, the President of the Chi- cago Culture Club. It was made of wood gathered at Mt. Vernon by an old slave be- longing to Mrs. McClelland’s grandfather, Col. John Yeoman, of Richmond, Va. This slave is now a guard in the National Capitol. The gavel was graciously accepted by Mrs. Willis Moore, the popular president of the Arche Club. <A living picture which will not soon be forgotten was the scene at the close of the program, when all the women assembled, arose and sang “My Country ’Tis of Thee,” waving flags which had previously been pro- vided. The Momence Woman’s Club, which was formed by the National Art Society, and which includes the following members, was entertained by the Arche Club: Mesdames C. Wickstrom, C. Hack, M. F. Moon, C. Shronts, M. Lloyd, A. Styles, B. Durham, L. Lucas, H. Nichols, M. Tabler, J. O. Ryan, L. Nickerson, E. Nichols, and Misses J. T. Styles, E. Gray, B. A. Miller, B. Tabler, L. Griffith. ae ie Miss Martha Hewitt is representing the Society in Nashville and writes of the wonder- ’ ville ful art interest that was shown at the opening of the Art Exhibit. New members in Nash- are: Mesdames H. Dougherty, K. Wright, S. Bradford, J. H. Eakin, C. B. Bell, B. B. Frederick, A. B. Cooke, Sadie M. Cor- son, E. R. Freeman, L. Goodwin, A. Beard, G. P. Edwards, G. Marr, T. Buford, H. Camp- bell, and Miss M. Gallinger. x ok x Mrs. Mary E. Vaughn gave a stereopticon lecture at the meeting of the Tuesday Art and Travel Club of Chicago, March 3rd. A repre- sentative audience of National Art Society members was present. * ok x The following members were enrolled in St. Louis this month: Mesdames C. Wal- bridge, A. Clifford, J. Van Blarcon, R. Janeke, Wm. Anderson, M. Smith, Chas. Wiggins, Wm. C. Morris, H. Scannell, Mary Reed, J. S. Justin, P. A. Bradwood, J. Walsh, H. N. Hudson, Walker Hill, O. Garrison, Geo. W. Brown, J. T. Davis, O. N. Moon, L. Blackner, A. B. Bray, K. K. Bixley and Misses B. Elli- son, M. Hull and E. Boogher. eee & Memberships in Sacramento, Cal., for Janu- ary include the names of Mesdames FE. Mc- Clatchy, G. S. Sellan, Irma Gerber, A. Elkins, L. Garigan, S. Price, M. R. Carroll, Carrie Yourk, R. A. Rerold, H. LaRue, Edna Shee- han, Clara H. Fountain, M. T. Spaulding, Irma R. Levy, Irene Richardson, A. C. Hart, W. F. Jackson, E. Twitchell, E. C. Hart, O. F. Washburn, J. A. Cornell, V. R. Anderson, E. Addington, C. H. Dunn and Misses S. M. Clark, A. Duden, E. E. Meyer, and Mr. H. A. Van Heusen. * ok Ox Life memberships in Memphis are growing rapidly. Mesdames F. H. Heiskell, E. A. Harris, B. Smith, A. Taylor, J. G. Bock, Elsie M. Selden, Chas. Duntz, V. M. Hare, Frances Cole, and Misses Louise N. Trezevant, Effie Heiskell, Grace Heiskell, Ada Wheatley and S. Alexander are recent additions. x * x “Oriental Rugs” was the subject of the talk given by Mr. G. T. Pushman at the last meeting of the Englewood Woman’s Club. His talk was illustrated with a magnificent display of oriental rugs, showing everything from a Soumack to the finest Persian silk rug. He explained the various symbols which are used
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156 AKT NOTES in designing oriental rugs—the “river-loop” of the Saraband, the floral designs of the Fe- raghan, and the Kerman, the “tree of life” pattern of the Persian being among those which he mentioned. a ae The Chicago Woman’s Aid purchased a painting entitled “Boston Harbor,” by Wilson Irvine, at the exhibition of Chicago artists recently held at the Art Institute, this being the annual purchase which the Club makes. * kK x The program of the Peotone Woman’s Club for the coming year will be devoted to the study of the Fine Arts University Course sup- plied by the National Art Society. Mrs. August Shroeder is doing excellent work as President of the Club. FOR THE NATIONAL GALLERY Two Tryon pictures, eventually to be sent to the National Gallery in Washington, are now at the joint exhibition of canvases by Messrs. T. W. Dewing and D. W. Tryon, at the Montross Gallery in New York. They were loaned by Mr. Charles L. Freer, of De- troit, who has given his collection of Ameri- can paintings to the Government and has pro- vided for a building in which to display them, only specifying that he shall retain their pos- session during his lifetime. “The Sea—Eve- ning” and “The Evening Star” are, therefore, catalogued as among the Art treasures of the United States. The marine represents the ocean and a strip of beach beneath an over- cast sky. The smaller canvas, “The Evening Star,” is a thing of subtle beauty. Among the others by Mr. Tryon are “Autumn Twi- light,’ “Moonlight” and nine pastels. BOSTON FINDS A BRONZINO The value of an art education is demon- strated in a dispatch from Boston, which states that for more than twenty years cul- tured Bostonians who have had access to the Puritan Club gazed upon a painting called “A Chap with the Corselet” and never knew that it is an Art treasure of great value. So much for what they know about Art in Boston. The Club has just convinced itself that the painting. is by Angiolo Bronzino, “The Italian Hol- bien,’ a contemporary of Michael Angelo. Since this announcement $25,000 has been of- fered for the picture, which was given to the Club about 1884. At that time a call was sent out among the members for pictures to decor- ate the walls of the club house. A member of the Perkins family sent the painting “The Chap with the Corselet.” Recently the Club decided to have all of its paintings sent to J. F. Cabot, an Art decorator, for cleaning and repairing. When Mr. Cabot’s eye lighted on the corselet picture he recognized the tech- nique and style of the real Bronzino. He was surprised to find a painting of such value so carelessly handled. George Lee, an artist and a member of the Club, confirmed the verdict of Cabot, and the Club generally was notified. An authority at the Art Museum also identi- fied the picture as the work of Bronzino. Then it was decided to have the picture re- moved to a storage warehouse for safe keep- ing. The Club received an offer of $5,000 and this was almost immediately followed by one of $10,000. Both were refused, as was a third offer of $25,000. It is expected the Club will send the picture to the Museum of Fine Arts, which possesses no example of Bron- zino’s work. Most of his pictures are in the galleries of Florence and Pisa, though the National Gallery in London owns two, “Sen- THE BlLERSTADT..SA-LE Eighteen pictures by Albert Bierstadt were sold in the American Art Galleries in New York at prices so low compared with what the works of this painter brought in his life- time it seemed almost as though they were being given away. The total of the sale was only $12,512, and this included the receipts ot the sale of fifty other paintings. They are faithful transcripts of the life of the West for the most part, and are of great historical value. The most important of the group, en- titled “The Last of the Buffalo,” was bought for $1,000 by Mr. D. P. Read. “The Great Trees of California,” which gives us a glimpse of the redwood trees, was purchased by Mr Hirschberg for $550. Both are very large. “The Last of the Buffalo” is ten feet long and six feet in height, while the “Big Tree” canvas is nine feet high and five in width. “The Rocky Mountains,’ a canvas seven feet in height, and another smaller one called “Sunset on the Platte Rivers,” were sold for $1,100 and $550 respectively to the Public Library of Bedford, Mass. Mr. Bierstadt once lived in Bedford and the pictures will be placed in the library as a memorial of him. It is under- stood that the other large ones will be added to the collection. Some idea of the low price at which the larger paintings sold may be gained when it is remembered that Bier- stadts of such size were sold ten years ago for from $7,000 to $8,000 each, and that the artist himself, who made a large fortune, was often able to command from $20,000 to $30,000 for his large canvases. Smaller pictures from his brush sold for comparatively good prices. “The Jungfrau and Lauterbrunnen” brought $710, the purchaser being Mr. D. P. Read. Mr. Warner M. Van Norden paid $300 for “Lake Lucerne.” RUSSIAN COLLECTION OF PICTURES SEIZED An order has been issued by the Collector of the Port of New York for the sale of the Russian collection of paintings brought to this country for exhibition at St. Louis. Permis- sion was given by the Czar before the paint- ings were allowed to go out of Russia, it was said, and a bond of $50,000 was given to the Treasury Department as a guarantee that the paintings would be returned to Russia after the exposition. The bond was given to the Government to insure that none of the paint-
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ART NOPTES 157 ings would be sold in this country and that all of them would be exported to Russia within a certain time. This allowance of time has ex- pired, and the paintings were seized by the customs officials because no duty has been paid. International courtesy may require fur- ther correspondence, as, it is said, one of the pictures is the property of the Czar and was loaned to the collector of the exhibit with the understanding that it was to be returned to the palace in St. Petersburg. That the greater part of the collection of more than three hundred paintings and Art objects would find ready sale in this country after the ex- position was the expectation of Edward M. Grunwaldt, who was the official commissioner at the exposition. An attempt was made to sell the paintings at the Fifth avenue auction rooms in New York, in March, 1906. The prices brought were so small the sale was stopped. Then charges of $75,000 for storage, moving and exhibiting accumulated against the collection, in addition to the prior claim of the United States for $60,000. THE STATUE OF GENERAL SHERIDAN The General Phil Sheridan monument com- mission has chosen the model of Gutzon Bor- glum as the design best fitted to commemorate the deeds of the great cavalry leader. This - decision, which was reached on January 17 by the commission, composed of Secretary Taft, Lieutenant-General Henry CC. Crobin and Brigadier-General Michael V. Sheridan, has also the approval of General Sheridan’s widow, who has taken a deep interest in the selection of the model. Unlike any of the other statues in the National Capital, Sheridan and his horse will not be placed upon a high pedestal, but will stand within three feet of the ground and will be surrounded by a plat- form 23 by 31 feet in size. This platform will be bordered by artistic marble benches facing the statue and leaving ample room for fountains. The site for the statue has already been selected, and it will be placed in the centre of Sheridan Circle at Massachusetts Avenue and Twenty-Third Street. The statue, a miniature of which now stands in one of the branches of the War Depart- ment, depicts the general in the act of reining in his horse and returning a salute of his men. The statue will be of heroic size. When completed the figure will face southeast and will have an approach of six low steps, so tsat free passage may be maintained along the line of Massachusetts Avenue. The sculptor is already at work on his large model, so that the finished statue may be ready for erection early next Autumn. All who have seen the model pronounce the de- cision of the commission excellent and prophesy that the statue will be one of the most artistic in Washington. Gutzon Borglum the designer, is the sculptor of the “Mares of Diomedes,” owned by the Metropolitan Mus- eum, and of numerous other works in various parts of the United States. SOME NEW BOOKS The True Method of Tone Production, by J. Van Broeckhoven, is a new book, based on the author’s discovery of the physical functions of the vocal organ in singing, and is a hand- somely printed work, full of most carefully prepared illustrations, and with elaborate text couched in language which is both expressive and convincing. The many chapters of the book cover all the details of vocal study, from the most purely mechanical to the finest points of tonal beauty. It is a book of most complete and commanding assumption, and the reading of it carefully gives the impres- sion that every contention is fully proved. Unquestionably the matter in it will furnish food for much reflection and be the means of advancing the vocal art. * * * The Appreciation of Music, by Thomas Whitney Surrette and Daniel Gregory Mason, is a new work which will fill a very distinct place in musical libraries, a place which has heretofore been vacant—for it deals with the commonplaces of Analysis in a _ thoroughlv musical and spontaneous way, and its reading will fit any music lover for the correct appre- ciation of any program he may hear, as well as for the more intelligent listening for in- herent musical values, even though he may not be an executive musician. The language employed in the book is direct and very much to the point, and each subject treated is made to glow with vitality. It is a book which would lend itself most gracefully for use as a text book in schools and colleges. * * * Half Hour Lessons in Music, by Mrs. Her- mann Kotzchmar, is a book which will prove a mine of delight to those progressive teach- ers of young children, who wish to have all the special help possible in their work and who already know of Mrs. Kotzschmar’s abil- ity through the lessons published a few years ago in the Ladies’ Home Journal. This writer has developed a most charming way of teaching, and a most happy style in telling about it—not only does she fully and con- vincingly illustrate her methods in the little book under review, but she puts her ideas in such delightful way that all her readers are fascinated with her plan and straightway re- solve to begin teaching according to the help- | ful and hopeful plans outlined in the little book. Though of no great size nor much pretension beyond foundation work, the book is yet so full of suggestiveness and so thor- ough in its application of common _ sense methods that it would be valuable reading for the teacher of any number of years’ experi- ence, and to the young woman just beginning her work it is invaluable.
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a EXCELLENT. .MINItATURES SOME —Courtesy Moffett Studio Bangs Currie ie By Bess
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A NEW MINIATURE EPOCH By GEORGE S. ANDERSON AINTING “in the little’ is an art of the most remote an- tiquity and may, possibly, be regarded by many as a lost art. The Ritualistic Egyptian papyri of the eighteenth dynasty were ornamented with miniatures, some merely designed in black outline, while others were painted in colors. If we may credit Pliny, the Roman and Grecian writers of the first century introduced many miniature portraits into their manuscripts. But all such have disappeared with the wreck of the ages. The oldest manuscript that remains intact, with miniature illumination, is of the fourth century—the Virgil of the Vatican being an example of this art. It was not until after Halbein and Hilliard in the sixteenth century, and Isaac Oliver in the seventeenth, had painted their exquisite “very small portraits of the distinguished characters’of the times, that ivory entered into the world of art. It was Samuel Cooper, who counted Milton, Cromwell and Charles II among his sitters, who carried miniature painting to a high excellence. These early pioneers in the miniature age painted on various substances—vellum, copper and silver plates being used largely but all of these were later supplanted by ivory. If we should be fortunate enough to find, in the collection of the con- noisseur, miniatures painted before the time of Charles I, we might be struck with the extraordinary paleness of color. This we attribute to the rich effect of time, or to the methods obtaining in the sixteenth cen- tury, wherein the shade and markings are insufficient to round the fea- tures. To the good Queen Bess has been ascribed the taste, or fad, for the pale miniature; but probably this idea originated from seeing the flat and feeble oil portraits of Elizabeth’s time. In the seventeenth century Mary Beale, who studied under Sir Peter Lely, painted some beautiful miniatures of the aristocracy of her day, her coloring closely resembling that of Van Dyke. Then there was Richard Cosway of the eighteenth century, who richly deserved the popularity which he won in painting “in the little’ for his miniatures were characterized by a charming re- finement and delicacy of color. There was a life and movement in his subjects. He not only painted portraits but ideal subjects, such as Venus and Cupid, and was exceedingly clever in his manipulation. He had some talented contemporaries, and as it was a fashion at that time to have one’s portrait done “in the little’ there are many beautiful ex-
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160 ARE W: MINIATURE EPOCH amples of miniature painting of this period, scattered in various collec- tions. | The effects of water colors upon ivory are more beautiful, soft, and delicate than on any other known substance. The transparency of these colors allows the ivory to show through, which gives to these miniatures their distinctive beauty.and value. Few artists have eyes strong enough, or a touch light and skillful enough, to become eminently successful painters in the little. The picture must be very faintly and delicately drawn in using a sable hair-pencil and some neutral tint. The features are carefully made in the same way and then the carnations, or flesh tints are gradually introduced, the background and drapery washed in, and the entire work is then brought out either by stippling or by hatching. The latest masters of the art prefer hatching, that is, painting with lines or strokes which must be accommodated to the forms and which are diminished in size as the work approaches completion. ‘The artistic value of an ivory miniature increases with its age. The beloved features of a fond mother or father, or of the darling babe, portrayed on ivory becomes a priceless heirloom, to be counted among the family jewels of succeeding generation, perpetuating the family history. There is a charm even in the name and the possession of a miniature evinces culture and refine- ment. In America, the woman is the notable miniature painter. The deft touch, the light brush, the patient spirit—three essentials in this field of art—are hers. What deftness and skill is displayed in the treatment of a bit of ivory when it comes within the touch of the artist who thoroughly comprehends the possibilities of the medium in which _ heor she works. We are becoming too critical, and perhaps too educated, in apprecia- tion of the artistic to tolerate anything but the best in miniature work now. And the exhibitions given from time to time prove that in America, as well as in Europe, the work “in the little’ has taken first rank with the fine arts. Some critics and writers on the subject may class it among the arts and crafts, but the knowledge of technic, of form, color and draughtsmanship required in order to produce anything that shall be deemed a harmony in composition, design and color, entitles the miniature artist to rank with his brother worker on canvas. The designation “Fine Arts” must become broader in its significance in America as it already has in Europe. As a nation, experience entitles us to become critics upon what constitutes “work of art.’ But the number and excellence of our miniature painters should set us thinking in such manner that we find ourselves ready to down any movement that urges the separation of this truly beautiful work from classification with the fine arts. Hand in hand they should go, even as the artist workers themselves—each en- couraging and helping the other by a knowledge of each other’s work and by genuinely expressed sympathy. The illustrations accompanying this article are after reproductions from the Moffet Studio, and are the work of Miss Bessie Bangs Currie,
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A NEW MINIATURE EPOCH 161 a talented young Chicago artist. Her drawing is true, her line work clear, and her colors harmoniously blended. Miss Currie is a graduate of the Chicago Art Institute where she received special honors for painting from life. Her work has been exhibited in Chicago, Philadelphia, St. Paul, Minneapolis and other cities, while her ivory miniatures are among the collections of the best people of Chicago, and many of the large cities of Illinois, Wisconsin, Iowa, Minnesota and Washington. Miss Currie is particularly fine as a delineator of child character in a portrait. Her childrens’ faces on ivory impress one as little tots who have sat down, not to have their portraits painted, but rather to be interested in what the artist herself is trying to accomplish. You might almost imagine them asking a question out of sheer curiosity—so unconscious do they appear about the matter in hand. She catches the expression in the eye, the childish unconsciousness that is so truthful and charming. But her adult subjects are treated with equal skill. There is a marked individuality about each of her sitters. She observes their best points and makes the most of them. In summing up her work, one finds that this young artist seldom idealizes; she tells the truth with a directness that is one of the chief charms in her delineation. There is no unnecessary detail in her painting, while there is a breadth as well as tone and a distinguishing feature of personality in each of her subjects. Tut de “i te re ae
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FASHION “‘AS WE MAKE AND NOT AS-JWE SEEIT”’ By MADAME HUNT ~~ OR ages back and for ages to come every kingdom, every great city, vil- lage, little hamlet and all places where the great masses of all nations gather, each represents their own individual fashions. Then we ask, “Who are the fashion leaders?” Those who give the most thought to their own ideas and those who sway the greatest influence with the public opinion. It takes an artist in dress to paint the picture, and it takes a perfect critic to be able to judge cor- rectly. I have been asked who accepts the most willingly the new and often extreme faddish fashions. Why, the leading actresses. Their life, their every thought, their every pose in fact, their whole existence is a picture studied to please the public’s eye. They are the ones who know how to wear extreme styles; they know how to combine harmonies and colorings; they study effects under the glare of footlights and learn to please the vanity of the world’s critical eye. For the greater the ability to please as an actress the easier to follaw all fancies and fads of the public. Now, how and what shall I say of the new spring styles? First, the children, they are a fashion plate of their own in their simple childishness. Really like the spring blossoms, nature’s own master in their delicate tinted pink and white —they need no suggestions, only to add, “Keep them in their childish simplicity.” For the young miss and young lady—for dame fashion provides for all—the early season will be made up of flowers in profuse quan- tities. Hats with smaller brims, higher crowns, faddish curves, striking colors; flow- er hats made of large and small roses and the hats not too large in size; maline cov- erings in different tones over shaded chiffons, wound around high crowns, fastened with embroidered bands in French needlework, making the color scheme of pastel effects; rough straws for street wear, trimmed with wheat heads and bright poppies combined, finished with bands of green velvets and gold clasps. Hats of goblin blue, finished with tips of the same shade, roses made of rib- bon and streamers knotted far down to the shoulder lines, tied with jet beads. Hats of this type are for suit wear. Lace hats made of black and white lace combined, jet bands, pink roses or pale yellow flowers, clustered in small bunches, will be considered in good taste for any costume for dress occasion. Black net shirred on silk cords, finished with jet bands and small roses will be quite up- to-date for Easter wear; bonnet effects with lace cascaded falling over the hair low in the back, forming a full back trimming will be suitable for the matronly woman. Few chip hats will be worn, as all up-to-date mil- linery for the spring season will show a vast amount of needle work. Green in all its shades, and the colorings MADAME HUNT are wonderful in tints if properly combined and are very striking under artificial lights. No one should purchase a hat of any value, especially where they are limited to one or two for the season, without closely inspecting them by artificial light. Large hats are not so much in vogue for this coming season, but a bright young face can always wear a picture hat, and for the actress they are often preferred and quite extreme in every respect. For the actress is the one who can best judge of “what to wear and how to wear it.”
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FINE ARTS FOUR WAL GAELERY GF. THEATRICAL AND OPERATIC STARS REVIEWING THE HISTORICAL CHICAGO OPERA HOUSE —WM. DODGE ‘‘IN THE MAN FROM HOME” —MISS ALICE NIELSEN—‘THE WARRENS OF VIRGINIA’’—MLLE. GENEE IN‘:‘A SOUL KISS’’-NEW YORK AND CHICAGO MUSIC NOTES—ETC ws a ad Zz ad Fd st
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MR. WILLIAM HODGE One of America’s Cleverest Comedians
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THE REJUVEN TION: Of te HISTORIC CHICAGO OPERA: HOUSE WRITTEN SPECIALLY FOR THE FINE ARTS JOURNAL T HAS remained for the newest, and in many respects the greatest American comedy-drama, the youngest American playwrights in the sense of having attained success, the youngest firm of American play- producers of the first rank and the youngest of American stars to accomplish the rejuvena- tion of one of Chicago’s oldest and histor- ically most important theatres. “The Man From Home” is the play. Booth Tarkington and Harry Leon Wilson are the playwrights. Liebler & Co. are the producers. William Hodge is the star. The Chicago Opera House is the theatre. On the 23d of last December, vaudeville was ousted and this beautiful playhouse came into its own again as a theatre of the first rank. And the transformation was brought about by an event marking an epoch in things theatrical. For the first time in the history of theatricals in this or any other country, producing managers were then compelled by sheer force of genuine success to lease a playhouse so as not to interrupt the long run of a play that the public was still clamoring to see. The Chicago Opera House was opened in 1885 by Thomas Keene with his celebrated characterization of Richard III, and few theatres in the United States have had a more varied career in the twenty-three years that have followed. David Henderson was the promoter of the enterprise, and he was its first manager and remained in control for many years. Following Thomas Keene came a brilliant gallaxy of American and foreign stars, in fact, every important star in the theatrical firmament at one time or another appeared in the Chicago Opera House up to the time control passed into the hands of Kohl & Castle for the presentation of vaudeville, and not a few real stars have appeared since. then in that modern form of entertainment. Following Thomas Keene came at one time or another all the really big successes. It was in the Chicago Opera House that Modjeska conquered; it was here that Mary Anderson Entrance to the Chicago Opera House just prior to the rejuvenation. Former Manager David Henderson, William Hodge and S. J. Ratcliffe in the foreground.
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166 MUSIC AND DRAMA IDA VERNON won her greatest American triumph; it was here that Wm. H. Crane and Stuart Robson made their great success in “The Henrietta,” a production which held the long run comedy- drama record for many years, it remaining, in fact, for ‘““The Man From Home’ to snatch the laurel from it at the same theatre, having already surpassed its record twice over, and is still more popular than ever. It was in the Chicago Opera House that the great conductor and impressario, Anton Seidl, gave several remarkably profitable sea- sons of grand opera with one of the greatest German opera companies ever organized, and gave the first, and with one exception the only production in Chicago of Wagner’s series of operas, comprising the “Ring of the Nib- lungen.” It was in the Chicago Opera House that Edwin Booth and Lawrence Barrett made their last appearance, and there is a bit of important theatrical history in connection with that event hitherto unpublished. It really brought about the birth of the now powerful theatrical syndicate, which controls from its offices in New York a great majority of theatres throughout the country, in the matter of “booking” attractions. Before that all theatres were independent, and the keenest rivalry existed among managers to secure stars in big cities like Chicago where there were several theatres of the first-class. Booth and Barrett were, of course, the greatest at- tractions of the time and all the managers wanted them. OLIVE WYNDHAM Henderson was always reck- ALICE JOHNSON less and he got them for their final engage- ment by guaranteeing them eighty-five per cent of the gross receipts. This incensed all of the other managers, and Mr. Hooley, de- claring that such rivalry had made it impos- sible for any house to make money, conceived the idea of planning the attractions for Hooley’s theatre a year in advance by nego- tiating with Charles Frohman and the other theatrical powers in New York for “time” at his theatre on a liberal percentage basis, with the understanding that he was to have first choice of attractions. This idea spread, and was really the inception of the syndicate idea. One result was the practical shutting out of David Henderson from the presentation of famous actors, but it resulted in a new era for the Chicago Opera House that is unique in the annals of the stage. That was the production of Henderson’s extravaganzas. He started producing on his own account, regard- less of expense, and the result made the whole country gasp. Never before or since were such gorgeous productions as “Ala Baba,” “Blue Beard,” “The Crystal Slipper,” “Alladin” and “Sinbad the Sailor” been ex- celled on the American stage for magnitude and gorgeousness. He imported ballets with two and sometimes three premiers, and there were seldom less than a dozen great trans- formation scenes, which are now pleasant memories to hundreds of thousands. “Extra- vaganza” was a good name for them in more senses than one, for they represented the height of Henderson’s extravagance, which
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MUSIC AND DRAMA 167 HENRY HARMON HENRY finally led to his undoing. But, like many others in a more modest way, he had a good time, and gave others a good time while it lasted. In 1896 the Chicago Opera House passed under the control of Kohl & Castle, who made it Chicago’s chief house of vaudeville until 1904, when it gave way to the Majestic, and they then began making musical produc- tions there, notably “The Land of Nod,” and “His Honor the Mayor,” for a year. A dra- matic stock company followed, and the next summer, owing to the burning of the Olympic theatre, vaudeville was again introduced, and maintained until Liebler & Co. assumed con- trol and moved “The Man From Home” over from the Studebaker theatre on the 23d of last December, in order to continue the re- markable run of that play, which opened in Chicago on Sept. 29th. Thus was the rejuvenation of the historic Chicago Opera House brought about; thus after many years of a varied existence it was put again into the rank of Chicago’s first- class theatres, and under Liebler & Co.’s management it is destined to stay there, for their list of attractions is such that they can maintain it on the highest plane, even if the present play should wane in popularity. But there is no indication that “The Man From Home” will move soon. It long ago broke the long run dramatic record for all JEWETT HASSARD SHORT American cities outside of New York, and seems destined to break many more records. The fact that it is a thoroughly good, whole- some American play, presenting a remarkably clever star and acted by an all-around ex- cellent company, account for the success of this production. The theme of the play has, of course, much to do with it, for Messrs. Tarkington and Wilson certainly chose the “psychological year” for bringing forth this clever satire on the marriage of American heiresses to titled foreigners. This subject has been constantly in the public mind through the marriage of Miss Gladys Vanderbilt, Miss Theodora Shonts, the divorce of the Yar- mouths, the troubles of the Castellanes and innumerable other instances bearing on this topic. It is interesting to note that in this com- pany, which has brought about the rejuvena- tion of the Chicago Opera House, are several notable players who are familiar with the historic stage on which they are now appear- ing, having acted there in the former palmy days. Among them are Henry Harmon, E. J. Ratcliffe and Miss Ida Vernon. There has been but one change in the ex- cellent cast of “The Man From Home” since it was first produced. Henry Jewett has as- sumed the role of the Russian Grand Duke Vasili and has proved to be a strong addition to the company. He has a long record as a
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168 MUSIC AND DRAMA ANTHONY ASHER star in Australia and in this country. He is favorably remembered in “The Choir Invis- ible,’ and for the past two seasons has been the star in one of Liebler & Co.’s two “Squaw Man” productions, William Faversham head- ing the others. THOUGHT WAVES AND DRAMA “The Witching Hour” is not the first play in which “telepathy and thought waves” have been mixed up with the atmosphere and the plot. In “The Corsican Brothers” the two brothers were frequently in communication with each other telepathically, and in a vis- ion the avenger beheld the fate of the slain brother in the duel. Hypnotism came in with “Trilby,’ and after Wilton Lackaye had scored the success of his life as Svengali he tried to repeat it with another hypnotic study called “Dr. Belgraff,”’ written, by the way, by Charles Klein, before “The Lion and the Mouse” had made him rich and famous. In Bronson Howard’s “Aristocracy” there was a wicked black eyed count who possessed such a power over Diana Stockton that he could force her to remain in his arms even though she hissed “I hate you!” right into his teeth. Spiritualism had a fair hearing in “A Social Highwayman,” which the Holland brothers, E. M. and Joseph, played, and in which the mysteries of the plot were fur- thered through the efforts of a trance medium in a stage seance that was dramatically most effective. That great Frenchman, Victorien E. J. RATCLIFFE E. P. GAYER Sardou admits that he is a Spiritualist and the possessor of mediumistic powers, and in one of his failures, ‘“Spiritisme,” which Bernhardt played in Paris and _ Virginia Harned in New York, he dealt freely with this phase of the occult. “The Witching Hour,’ however, easily out- ranks any of the plays that have preceded it in respect to the use it makes of the weird and mysterious psychic forces that are just now of particular interest to every thinking person. One of the features of the run of the “Witching Hour’ has been the number of women of middle age who are seen in the front row. These hardly are put down by the observer as professional front seaters, however, but more as women. of serious mind who are interested in some of the psychological ideas in the “Witching Hour.” The manager of this theater, Mr. Duce, had numerous requests from women to be al- lowed to stand in the lobby to watch the com- ing or going of the audience the other day when there was a_ professional matinee at this house—these were more often from the woman of forty than from the debutante. *K * * The “Man of the Hour” will follow “Mrs. Wiges of the Cabbage Patch” in McVicker’s theater beginning a month’s engagement Sun- day, March 15. Our readers will remember a special illustrated article we published upon this excellent drama last summer.
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MISS ALICE NIELSEN— A PERSONAL: SKETCH By ARTHUR B. WILSON OT so many years ago a beautiful girl with dark hair, slender, lithe figure and two big blue eyes one could not easily forget, came east from her early home beyond the Rockies, sang witha pure, vibrant, soprano voice and* danced and acted with a naivete and piquant charm which multiplied friends and admirers wherever she went and was the desperation of contemporary light opera stars. She swept the country with a furore of enthusiasm in MHerbert’s “Fortune Tell- er’ and “Singing Girl,’ which proclaimed before her the loveliness of every note she sang and the winsomeness of her per- sonality. She became a guest in name at least in every American home, for she was an American and people loved her because, al- though idolized by them, she remained one of them. Supreme success could not tempt her into any display of the cool aloofness or per- sonal mannerisms which some young artists affect at the approach of greatness, for to Alice Nielsen’s sensible view of things, a sweet simplicity and graciousness of manner have always been more indicative of true artistry than any show of hauteur or caprice. When Miss Nielsen went to England to re- peat her successes in the Herbert operas a prominent American journalist of prophetic vision reviewed her career from the time when she left the old Tivoli Theatre in San Fran- cisco to come east with “The Bostonians,’ and on through the days when other light opera stars were taking “much needed vacations” or were “recuperating from serious attacks of nervous prostration brought on from _ over- work,” or were doing any of the other things that actresses hate just next to death, while Alice Nielsen was starring with a gorgeously costumed company in a magnificent production under a management which ignored expense to surround this witching American queen of opera with an environment and setting worthy of herself and her art. Then the seer con- tinued: “And now Alice Nielsen is to appear in England, where we venture to predict a repetition of her successes here, for her style is so simple, so direct in its appeal that her art will captivate the Britishers as it has us and after that, what then? Perhaps a grand opera career.” Miss Nielsen scarcely realized herself how soon such a prediction was to be realized until in London she met Mr. Henry Russell, who was voice specialist to the smartest musical set of the city, and is present director of the San Carlo Grand Opera Company. Mr. Rus- sell, by the way, is a son of the great English song writer, Henry Russell, whose “Cheer Boys, Cheer,’ “A Life on the Ocean Wave” and “Woodman Spare That Tree” have car- ried his name wherever civilization has gone and wherever music is sung. Deeply impressed by the rare charm of this young American artist and the great beauty of her natural voice, Mr. Russell told her she was worthy of better things than light opera could offer her, and advised her to begin preparation at once for a grand opera career. Miss Nielsen found an inner response to such a call, for she has desired a deeper and more comprehensive form of expression than was possible within the province of light opera. With characteristic decision and determination Miss Nielsen aban- doned her place upon the very pinnacle of light opera supremacy—it still remains unfilled: —abandoned the lights and the theatre she loved so well, the floodtide of popularity, the sweet wine of adulation, and the more than ample remuneration which was but a mere fraction of her earning power to her manager, abandoned it all in spite of the latter’s wildest remonstrances and of an array of tempting of- fers from his rivals, who were biding with all the reckless furore of the pit for the services of this young woman. However, Alice Nielsen has a will, inherited from a sturdy Danish father who was a painter, and from a dear mother, a woman of wonderful intelligence, who some- times says: “Alice, I think, while the papers are writing about your Danish father, it is a pity they wouldn’t speak of your old Irish mother, too.” Besides a will, Miss Nielsen had a sane and rational belief in her own powers. In her scale of life’s relative values she put her art and the noblest expression of herself above commercialism and the plaudits of the mo- ment. Mr. Russell’s council was the voice of destiny, and she obeyed. Terminating her en- gagement, she took up active study at once with Mr. Russell and debued as his pupil five months later in Queen’s Hall. After four months spent in the languages and repertoire Miss Nielsen debued in Italian grand opera in “The Daughter of the Regiment” at the old Bellini Theatre in Milan, where Constantino, Caruso and other great ones first began their operatic careers. The scale of prices was al-
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170 MUSIC AND DRAMA MISS ALICE NIELSEN Soprano—San Carlo Grand Opera Co. most equivalent to our own, but the salary to young artists was $12.50 a performance. Then followed a tour through the principal Italian cities whose inhabitants flocked to hear, and see this crystal voiced young American who sang their operas with greater fidelity to the traditions than many of their native singers. Miss Nielsen’s debut in Naples came near ending disastrously, a catastrophe which she herself innocently averted. Maestro Bevig- nani, the conductor of the theatre, who had taught Miss Nielsen the traditions of Faust in which she was to appear, learned that a scur- rilous report had been circulated in certain quarters to the effect that the new prima don- na was a third rate singer of some disrupted opera company, and that a mob of Italians would be present well supplied with ammuni- tion of the vegetable kingdom to “claque,” which is the name of a specific brand of: dis- turbance which the Italians use to show their displeasure. The kindly old conductor knew
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MUSIC AND DRAMA ee that to tell Miss. Nielsen would cause her ner- vous fright and possibly prevent her appear- ance. He wisely kept silent and trusted that the self-appointed critics would speedily see their error, and if worst came to worst that their aim would be bad. The marauders who were prepared to welcome an aged, voiceless and altogether unlovely Marguerite were so stunned with surprise at the rare vision of girlish beauty which Miss Nielsen presented as she came on that their “claque” was quickly changed to insistent cries of “Bis, Bis,” and of “La Belle American,” which was taken up by the entire theatre and ever afterward remained the favorite nickname of the Nea- politans for her. Following her tour of the Italian cities Miss Nielsen participated with great success in the brilliant season .of opera of 1904 at Covent Garden, sharing honors with Caruso and other world’s greatest artists who appeared under Mr. Russell’s direction. Miss Nielsen was the second artist to sing Mimi “La Boheme”’ at Covent Garden in Italian. Melba alone had preceded her. No American singer was ever more taken up by the English nobility than was Alice Niel- sen during her period of residence in London. She was frequently a guest at the house of the Duchess of Manchester, who experienced the greatest pleasure in the beautiful voice and per- sonality of this charming American girl who had created such a furore. Upon one of these occasions King Edward was among the guests. A musical program had been arranged by Paolo Tosti, who was master of music to the royal family and without whose services any musical function was quite impossible. When Miss Nielsen sang, Mr. Russell invariably played her accompaniments, for this young 1m- pressario fairly endows the piano with the powers of musical speech, but upon this oc- casion she gave Tosti’s “Good-bye” with the composer at the piano. Before she began the Duchess said: “Now Alice, do not mind if the King talks; he sometimes does.” As Miss Nielsen began the “Falling leaf and fading tree,” the room was hushed in rapt attention, and her voice rang sweet and pure on through the remainder of the first verse. Then while Tosti was continuing the haunting, reminiscent melody in the soft interlude, the King turned with a remark to one of his party, and his deep bass voice sounded out sharply against the piano. Aiming the words straight at His Majesty, Miss Nielsen placed a_ prolonged emphasis on the “Hush” which begins the second verse—and stopped. Instantly the King turned in startled surprise to look straight into a pair of blue eyes, fairly dancing with sup- pressed merriment. An_ intense _ stillness thrilled the room. A joke on the King of England was about to be merrily celebrated or irreparably lost. His Majesty, quick to catch the delicious humor of the situation, saved the laugh by starting it, and during the remainder of the evening the irresistible little prima donna and her distinguished audience were in delightful rapport. When Miss Nielsen made her debut at Co- vent Garden as Zerlina in “Don Giovanni” the King was present in the royal box. During her rendition of “Batti Batti’ he greeted her with a smile of recognition and.during the in- termission said to her: ‘“Itali&h opera, Miss Nielsen, what are yéu' going inte, Italian’ Sperd™ for? I like Sousa’s band and coon sangs.” The King was really so enamored of the syn- copated melodies of the Southland that the lit- tle princes were being taught cakewalks. Among the great ones who iearned to cap- itulate gracefully to this clever American girl was no less a celebrity than Dr. Hans Richter, the eminent Wagnerian conductor. Once when Miss Nielsen arrived for rehearsal for an ap- pearance with his orchestra in the “Batchelor” concerts in Manchester it was found that part of the orchestral parts was in one key, and the rest in a key so remote that transposition was quite out of the question. Dr. Richter, vexed - to wrath, accused Miss Nielsen of the fault of which she was naturally quite innocent. She left the stage and told her manager, as it was already half-past four, she would not sing that evening. As she was about to leave the theatre Dr. Richter stopped her, made ample apologies for his display of temper and as a peace offering volunteered to play the accom- paniment himself,—a rare and unusual conces- sion. So that night Miss Nielsen sang with Dr. Richter’s bald head at the piano and was accorded an overwhelming reception which she had not anticipated and was not prepared with an encore. Several years after, when she returned to Covent Garden for her debut in opera she met Dr. Richter one day and said to him, “Do you remember me?” to which he readily answered: “Yes, and the next time see that you don’t forget to bring an encore.” For the last three years Miss Nielsen has returned each season to America, first in her own company and the last two as prima donna of the San Carlo Grand Opera Company, Mr. Henry Russell, director. Each subsequent ap- pearance has revealed an added breadth and richness of voice, a surer, firmer grasp of her art and a more mature musicianship. The roles of the Italian composers written while florid music still obtained, receive portrayals at her hand to be scarcely equalled by any prima donna of today. Ads.
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MISS CHARLOTTE WALKER In ‘“*‘The Warrens of Virginia’’—Belasco Theatre, New York
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THE WARRENS OF VIRGINIA ae ee Gs BY ee BELASCO’S latest annual offer- ing was presented to the public at the Belasco theater, Tuesday, December 3. This season New Yorkers are given a war drama, entitled “The Warrens of Virginia,” from the pen of William C. De Mille. Differ- ing from the usual run of war dramas, how- ever, we are in this instance spared the usual battle scene and off-stage explosions. Instead of this we have a pretty southern love story, woven in with the troubles of the North and the South, the termination of which has a happy ending as may be surmised. At the opening of the play, Lieut. Barton has applied for leave of absence in order to pay a visit to his lady love, whose home happens to be in the vicinity of the camp. The general grants him leave, and at the same time, asks him to carry dispatches outlining an intended attack by the Federals on a supply train be- longing to the enemy. It happens that the general of the opposing army is the girl’s father, and the object of the dispatches being to mislead him. The plan works, and General Warren, instead of being the bearer of the news to General Lee of the train’s arrival, finds that his men have fallen into a trap and cut to pieces. General Warren, of course, blames himself for the disaster. Then comes to light the part the young lover has taken in the deception, and this naturally estranges the young pair. At this juncture, General Lee surrenders, and thus the war is terminated. The last act showing the Warren home in poor circumstances some time after the war, is necessary to bring about the reconciliation of the lovers which eventually comes to pass. The closing admonishment delivered to young Burton by Mr. Warren is particularly humor- ous, “I don’t like a hair of your head, but come around again.” ‘Thus the lovers are re- united, and all ends happily. The parts of General Warren and the heroine are taken by Frank Keenan and Charlotte Walker, respectively. Miss Walker is the latest recruit in the ranks of the Belasco army of players, and it can virtually be said that she has at last arrived at the point where she justly belongs. She has had several years of indifferent suc- cess with roles connected with the sock and buskin order, and during the past two sea- sons, fate has not been kind to her in the administration of congenial parts. Mr. Belas- co, however, had had his eye upon her for STRICKLAND some time, and under his skillful direction, the rough edges have been trimmed from Miss Walker's diction and deportment, and it is now hard to realize that in so short a time, such a transformation has been effected. Miss Charlotte Walker is a southern girl, with all the warm heartedness and love of home which dominates a true daughter of Texas, so in the character of Agatha, she gives a clear cut and beautiful rendering of the role. She makes a lovely picture in the old time furbelows, and her appearance re- minds one of a painting by one of the old master’s. She is particularly good in her emotional work, and here it is that an actress is chiefly tried in her histrionic endeavors. Her diction is full of sincerity, and this is the dominant tone throughout her charming im- personation. Mr. Frank Keenan, in the part of General Warren of the Confederate army, gives a fine and distinguished performance. The char- acteristic chivalry and innate courtesy of the southern gentleman are admirably brought out, and the dramatic values of the role are broadly and convincingly accentuated. As Ruth Warren, his wife, Miss Emma Dunn adds another fine piece of character acting to her already splendid record. As the wife and mother she is exceptionally sweet, and the little love scene the old pair have is a happy piece of work and redolent of a Darby and Joan atmosphere. Mr. C. D. Waldron, as Lieutenant Burton, makes a handsome, stalwart lover, and his acting is distinguished by repose and dignity. Other parts are competently filled by Messrs. Wm. McVay, De Witt Jennings, E. Allen Martin, Cecil De Mille, Mrs. Isabel Waldron and Mrs. Charles G. Craig. Mr. William C. De Mille is to be commended for the ex- cellent story he has provided in “The War- rens of Virginia.” The departure from the familiar war drama is a novelty to be appre- ciated, and in his interesting play he has de- veloped characters which appeal to the heart and leaves one grateful for his efforts. The scenic embellishment of the drama is done with all the detail which one expects to see in a Belasco production. Each scene is a picture and one that lives in the memory of the beholder. The first set by Ernest Gros, depicting a wooded dell with a stream trickling through the trees end underbrush, is a delight to the eye.
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- FRANK KEENAN AND MISS EMMA DUNN As General Buck Warren and Mrs. Warren in ‘“‘The Warrens of Virginia’’
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. MEL, Ge By J. HE ENGLISH importations we have re- ceived during the past few months, con- sisting of advanced and other kinds of vaudeville artistes, have been very numerous. The nature of the acts they have brought us have been on the whole fairly good. They have consisted, however, principally of comic and character singers, the female contingent of which have not been blessed with great variety in their different offerings, but at the time they broke in upon us they were some- what of a novelty. New York at the present time is paying homage at the Shrine of Terpsichore. This IN J. STRICKLAND <A SOUL iss country has not witnessed dancing of what might be termed the traditional sort for al- most a decade, and with the advent of Mlle. Adeline Genee, the Danish artist of tripping toes, Americans have given themselves wholly and loyally to admiring her, as well as the art she portrays. She is appearing at the New York theater as the premiere feature of F. Ziegfeld, Jr.’s, musical entertainment, “The Soul Kiss.” Genee is easily the foremost representative of what has been styled the most 4rtificial refinement of our civilization. She is even more than a great dancer, she is the medium MLLE. ADELINE GENEE The Danish Artist—‘“‘The Poetess of Motion’’
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176 MUSIC AND GENE E—In ‘“‘The Soul Kiss’’ through which this oldest and most beautiful of the arts has been brought again to the high plane of recognition to which it is so eminently entitled. There is art in every step, gesture and expression of Genee. She was known abroad as “The Poetess of Motion.” New York has readily and gladly subscribed to this nom de terpsichore, and with the top note of enthusiasm, has ac- claimed this artist as queen of poetic grace. Genee comes to America after a most re- markable record abroad. She is still little more than a girl, being only twenty-six years of age, and those who see her upon the stage, in the midst of her pirouettes and whirls, are ready to declare that she is ten years less than this. She began her study of dancing when she was six years old, and has never ceased since that time to give all the energy and devotion of her nature to her-art. She made her pro- fessional debut at the age of twelve in her native city of Copenhagen, and happily for her, when the King of Denmark was in the audience at the Royal Opera House. For four years she traveled in Continental Europe with her uncle and aunt, also famous * neers, and at the end of that time she went DRAMA GENE E—In “The Soul Kiss’’ to England’s historic home of the ballet, the Empire theatre in London, for an engage- ment of six weeks. She remained instead for ten whole years, and when last November she celebrated her tenth anniversary, she needed only the enthusiastic demonstration of the Britons to convince her that she had far from worn out her welcome. When Genee came to America, it was with some misgivings as to how the people here would receive a dancer, at least a dancer who stands only for the poetic and artistic. After her first appearance, however, all doubt was gone; it has been a triumph for her. No artiste of the stage, foreign or native, has ever achieved a greater in New York than that scored by Genee. Her dancing has been a revelation even to those who remember Crispi, Bonfanti, Cavalazzi, Taglioni, and Mile. Rosa so happily. She is something graceful and beautiful, as she is new to a younger generation. The introduction of Genee in “The Soul Kiss” differs radically from the usual appear- ance of a premiere danseuse in a big pro- duction. Instead of one solo as generally performed, the play has been written around Genee, and she is as much a factor in the
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MUSIC AND DRAMA 177 GEN E E—In ‘‘The Soul Kiss’’ performance as any other of the characters. She has four dances: In the first she appears in an Empire gown, and the dance is of the. traditional as well as modern style. The sec- ond is her most elaborate dance, and is called “The Ballabile.” In this she is assisted by the twelve Coryphees she brought with her from London. The setting made expressly for this number represents Monte Carlo; the scenes, drops, and wings being covered with gold coin: The: third dance is one of pantomime and is an amplification of the style adopted in London during the pantomime sea- son. It was originally introduced by Genee in “The Little Michus.” Dance No. 4 causes a tremendous sensation, and is called “The Hunting Dance.” During the progress of this remarkable display of calisthenics, the entire hunt is gone through from start to finish, and is readily the hit of the dancer’s repertoire. The plot of “The Soul Kiss” briefly sum- marized is as follows: Maurice, a parisian artist, is in love with a model and because she will not submit to his osculatory advances, goes off in a huff with some of his friends intent upon drowning his sorrows in the flow- ing bowl. During his absence, Mephisto ap- pears to the mode! (Suzette) and makes her the following proposition: If she will keep Maurice true to her for a year, she shall marry him and have a dowry of a million. If she does not manage to keep Maurice true to her, the pair belong to Mephisto, body and soul. Suzette accepts. Maurice returns, ac- companied by his friends, and they are visited by Mephisto, disguised as a gentleman from foreign lands. He invites them out and com- mences to immesh Maurice. His first action is to summon his six daughters from Hades, where they join the party at the Bal Tabarin. The energies of the six ladies from the in- fernal regions are then concentrated upon Maurice to lure him from his Suzette. She, disguised as a flower girl, attends the ball to watch over Maurice. She meets with an American Wall street financier who is in Paris getting rid of his surplus cash, and he falls violently in love with Suzette. After learning what her mission there is, he sug- gests that she allow him to help her. He will pretend to be in love with her and thus make Maurice jealous. This they proceed to do. Mephisto’s six daughters appear in different forms to lure Maurice, and impersonate the following characters: Carmen, Cleopatra, Delilah, Marguerite, The Gibson Girl, and the Queen of Terpsichore (Genee). Each one of these administer a kiss to him, hoping that he will decide that it will be The Soul Kiss, and that his affinity be found. None of these appeal to him until No. 6 (the Queen) ap- pears. He then falls in love with her spirit- ually, but she does not allow him to kiss her lips, only her hand. After this, scene follows scene in brilliant succession. Monte Carlo is shown “en fete,” and ends with an elaborate dance. After that the beholder is transferred from Europe to New York. The top of the Singer building is shown with Mephisto standing on the highest pinnacle. This gives opportunity for a fine stage setting and big panoramic view. Mephisto here has a serio- comic soliloquy, after which he takes an aerial flight. The Cunard dock is shown, the arrival of the Lusitania conveying an Amer- ican impressario, who brings with him a num- her of actresses from Europe including Genee. The play finishes up with the pairing off of Suzette and the American millionaire, Maurice and the dancer, and Mephisto with Cleo of the Bal Tabarin, Mephisto renouncing his claim on the young couple.
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CHICAGO MUSIC DEPARTMENT By CHARLES THE MENDELSSOHN CLUB The second concert of the Mendelssohn Club served to display this organization in a most favorable light, and the program pre- sented was a source of unqualified delight to a typical “Mendelssohn” audience, i. e., a large attendance of semi-professionals and dilet- tanti, together with a very goodly sprinkling of society, in its best dressed and most polite aspect. The. Club singing at this program was maintained at the same high level to which it was brought in the preceding con- cert, and the works chosen for place were of vital interest and much beauty as well. “Glasses Up,” by Paul Bliss, made a famously good opening number, and it was sung with rare abandon and effect. “Dance of the Gnomes,” by MacDowell, was airy and bizarre, and his “The Crusaders” proved to be the greatest number on the program. “Hymn Before Action” (H. Walford Davies), “The Fir Tree” (Sokolow), and “Young Siegfried” were all works of unusual content, and were each one delivered most acceptably by the Club, while the ‘‘Wein, Weib und Gesang” waltzes by Strauss were a perfect mine of delight. Less known than the _ everlasting “Blue Danube,” this number is still quite as beautiful, and the wonder is that it has not been used vocally more often. Miss Sybil Sammis was prevented by illness from fulfill- ing her engagement with the Club, but her place was most delightfully taken by Mme. Ragna Linne, who was heard to quite unusual advantage in a group of Northern songs, in- cluding numbers by Lund, Grieg and Clough- Leighter, and in the part songs with the Club, - in which she supplied solo, and soprano obli- gato, she was most happy. These songs were “A Song of April,” by Arthur Foote, which was charmingly naive and effective: “The Minstrel,” by Fr Aug Kern, which was rea- sonably beautiful, and “Ring Out Wild Bells,” which was an unreasonable distortion of the Chopin Funeral March (Chopin) by Vogrich, and in which the Club did not shine. Daniel Beddoe also appeared in solos and pleased best in an Aria from Gounod’s “Queen of Sheba,” which he sang with fine style. His smaller songs were, however, not so pleasingly done and his encores fell distinctly below the level that should have been maintained. SAN CARLO OPERA COMPANY This sterling organization gave three weeks of opera in the Auditorium to a beggarly at- tendance, and is said to have lost more than thirty thousand dollars by the venture. This is distinctly discreditable, in view of the fact that the performances were of universally high grade and on some evenings rose to a height of excellence that has never been ex- a WATT celled in the Auditorium. Alice Nielson made the most remarkable Marguerite, both vocally and histrionically, that Chicago has had in many years. Nordica was superb in La Gioconda and Noria almost equally so in Lohengrin. Constantino offered many fine impersonations, though he displayed the very inartistic taste of playing Lohengrin in Ital- ian when it was otherwise cast almost ex- clusively to German speaking principals and was announced as a “German” performance. Rosa Olitzka also scored heavily and the chorus and orchestra were at all times fine. EVANSTON MUSIC CLUB The Evanston Music Club, under the baton of Dean Peter Christian Lutkin, of North- western, gave a program in early February which was notable for elegance of style and solidity of music content. The intricate and wonderfully introspective setting of the Te Deum, by Dvorak, and the intensely difficult and virile “German Requiem” by Brahms constituted the program, and in both works the Club easily proved its ability to attempt and carry to success work of the most elabor- ate difficulty. Mrs. Lucille Stevenson Tewks- bury, in the soprano solos and obligatos, was delightfully true and wonderfully sympathetic, while on the other hand, Mr. Charles W. Clark. who had very good opportunities in both works, failed to impress in a satisfactory way. GRAND OPERA IN ENGLISH The Chicago company now playing at the International theatre has added one success after another to its credit and has succeeded in building up a clientele which promises as long a season as the management may choose to offer. Mr. Sheehan has not only steadily held the high esteem in which he has always been accorded in Chicago, but has added hundreds of new admirers for his splendid voice and authentic dramatic presentations. Mr. Hinshaw has abundantly justified the estimate of his friends that he was a “com- ing” grand opera star. Miss Edwards and Miss Abercrombie have proven themselves _thor- oughly capable singers, and Miss Crawford has easily proven that she is second to no one we have had on the operatic stage in the matter of histrionic ability. Mr. Vogelsang. Mr. Schuster, Mr. Conkey and Mr. Beard have each made numerous friends, and Mr. Shaw has proven again that he can sing, even if his dramatic ability is limited. I] Trovatore and Faust have been two very popular offer- ings and the old Bohemian girl attracted a full house at each performance. Tannhauser was in the same high class as. Lohengrin, with which the season opened, and later offer- ines have been as universally endorsed.
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MUSIC AND DRAMA 179 VISITING ARTISTS Pianists and vocalists who have come to us during February have, ception, appeared to small attendance. This has been unfortunate in many individual cases, but after all is but the result of overproduc- tion, for we have certainly had more than enough concerts this season. In this con- nection it is in place to offer a criticism on the management of music hall, for conditions there are often so uncomfortable that the public feels reluctance in submitting to them. The place is almost invariably badly venti- lated, and always far too hot, and the rule of “hats off” for the ladies seems to have been entirely suspended as far as this particular hall is concerned, the result being that it is impossible for anyone to see the stage from a vast majority of the seats, and the interest in the concert under way (as for future events, where the same condition is réason- ably sure) falls to the minimum. THRE-APOLLO CLUB The Apollo Club carried away the palm of excellence for the current season when “The Children’s Crusade” Orchestra Hall Feb. 17 and 18. This is the most impressive work that has been offered here in a decade and the Club gave it in be- fitting style and with resounding success. A children’s chorus of one hundred and. fifty was used to augment the Club, and the entire Thomas Orchestra furnished instrumental sup- port. Mr. Wild conducted and Arthur Dun- ham played the organ obligato. All these forces were in ideal trim and the work was given with a vigor and in a style not before approached by the Club itself and never equalled by anv other singing body here. Much comment has been made on the selec- tion of Mrs. Waterhouse and Miss Cropper for the two important soprano parts—Allys and Allain—and the choice was not altogether a wise one, for neither voice was strong enough to meet the Pierne requirements. However, the artistry of the work of both these singers was beyond cavil and after all, the breadth of the score is such as to pre- clude almost any ordinary voice from being heard above the heavy accompaniment of or- chestra and chorus which is required at al- most every point. Mr. Frank Ormsby was more fortunately cast, singing the part of The Narrator in a way to cover himself with praise, and Mr. Gustaf Holmquist in the small part of An Old Sailor, had the one song of the evening, which made a resounding impression. Pierne has employed the modern method of making his orchestra carry the story almost exclusively, and the chorus and soloists are to him, merely additional forces which may be employed in his painting of tone pictures. The chief charm of the per- formance must perforce lie in the exactitude and the art with which one part is dovetailed into the next, and in this respect all the forces, chorus, orchestra and soloists alike, made splendid use of the glorious opportun- almost without ex- — by Pierne was sung in ° ‘the Whelpley Cycle ities provided, and each of them helped to add to the artistic whole. TWO GREAT PIANO RECITALS Two of the best piano recitals given here in years were those of Augusta Cotlow and of Katherine Goodson, which were given on succeeding nights in Music Hall to two of the most meager audiences that have as- sembled this season. Miss Cottlow belongs, in a sense, to Chicago, having attained much of her education here and having made her first successes locally. She has been away so long, however, that she comes now as a dis- tinct novelty, and her playing is certainly as good as the best we have had at any time, and immensely in advance of most that this season has brought us. Miss Goodson is a young Englishwoman whose work with the orchestra was wholly delightful, but who, in the recital room evidenced a charm that can only be named in the superlative degree. Her technic is flawless, her interpretations a posi- tive delight, and her choice of program was both fresh and novel. A detail of the pro- grams played by these two pianists is unnec- essary now, but it is entirely within bounds to say that they each stand for the very last and best word in piano playing art, and that the many musicians and throng of dilettanti who stayed away from their concerts missed treats that were rare and charming. HOLMES COWPER RECITAL Mr. Cowper gave a pupil’s recital in Cable Hall on February toth, which was of exceed- ingly good quality both in the music presented and in the voices which were introduced at that time. Miss Laura Wilson who sang “Faith in Spring” and “Farewell” by Schu- bert has a sympathetic voice and is to be es- pecially commended for a very clear enuncia- tion. Miss Daisy Miller sang the well known Aria from Gounod’s “Samson and Delilah” and displayed a well rounded and _ well schooled alto voice. Helmer Melum sang the great Handel Aria “Honor and Arms” in a way to suggest the artist class rather than a pupil’s work, and Edward Douglass sang very smoothly and beautifully the “Evening Star’ from ‘Tannhauser. Grant Kimbell’s robust tenor was heard to admirable advantage in “Maud.” This young singer has much artistic finish and is a soloist at St. Paul’s Episcopal church. Miss Jennie Maxwell gave a most dainty presentment of Lane’s “Fisher Lullaby” and Mr. M. Curran and Mr. Eugene Katz each displayed well schooled tenor voices in ensemble numbers. * OK OK The Chicago Piano College offered its pu- pils a fine performance of Enoch Arden, with the Richard Strauss incidental music. Miss Martha Lula Drury read the text in a thor- oughly impassioned way, and Mrs. Metta M. Libis played the piano admirably.
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180 MUSIC AND DRAMA FIVE: HUNDREDTH RECITAL AT NORTHWESTERN The Northwestern Conservatory in Evans- ton has passed the _ half- thousand mark in pupil’s recitals and proved in the last one that the advance has been steady and remarkable, and that the public had learned to appreciate the school at full value, for there were as many people turned away unable to find place in the hall as there were admissions. The program had for its chief feature six or eight songs by the A Capella Club, under the di- rection of Mr. P. C. Lutkin. This is an or- ganization which is unexcelled for pure artistry and which has many public successes to its credit. Mr. Carl Beecher played some piano works of his own composition in splen- did style, Miss Mae Smith and Mr. Lowell Townsend being also extraordinarily success- ful. Mr. Frank E. Barry and Miss Mary Alice Rice gave good violin numbers, and songs were furnished by two of the best pupils of Mr. Hackett—i. e., Miss Ida Mercer and Miss Hedwig Brenneman. A _ splendid organ number was played by Miss Odile God- dard. AMERICAN CONSERVATORY PIANISTS Within the month the American Conserva- tory has given two piano recitals, and in each case the result was thoroughly good. Silvio Scionti is a young Italian who has all the temperament and emotionality of his race and who has besides the accuracy and the intel- lectuality that comes from exhaustive study in the best music centers. He plays with a wonderful abandon and a daring interpreta- tion usually, but keeps these well in hand, so that his work can never be called eccentric. His Chopin readinos are well digested and he is fully abreast of the most ultra of the moderns both technically and interpretatively. Mr. Henoit Levy is a pianist who must be called, first of all, introspective, for all that he does invariably conforms to an analysis which reaches the innermost points of the composition. He plays the classics with splendid appreciation and finish, and is fully equal to the modern writers too, and in works from his own pen, of which there are many, he is, of course, incomparable. COSMOPOLITAN SCHOOL OF MUSIC Miss Lankart and Miss Case, two of the Cosmopolitan teachers, gave a most enjoyable recital with their aupils and introduced to favorable notice the following list of young musicians: Harrell Murdock, Vida Cowen, Mildred Tegtmeyer, Bernard Barbe, Helen Moran, Hazel Cowen, Jeannette Harris, Pris- cilla Williams, Bessie Rice and Mary Carver Williams. x * Ox Wilhelm Middelschulte was the attraction at the last of the artist series given at Car- penter Chapel, playing one of his stupendously difficult programs to perfect appreciation. MUSIC NOTES Miss Marie Sadler and Miss Frances Ross gave a joint recital in Cable Hall, playing together the Peer Gynt Suite of Greig, and the Second Rhapsodie of Liszt with splendid musicianship, and each of them giving a con- certo movement with the assistance of second piano played by the other. Blanche Bates the youthful violinist, assisted. * * x Mr. and Mrs. Fredericksen gave their an- nual recital with the assistance of Chris An- derson and added many friends to their list. Mr. Anderson gave a second recital (jointiy with Leon Marx) and added to the splendid impression made at the first one some weeks ago. * Ok Ox The Willett School announces that Miss Runkel is on a five weeks’ concert trip with the Chicago Lady Orchestra. Miss Pangborn and Mr. Willett sang at Wheaton in concert, and have been re-engaged for the spring fes- tival there. Mr. Lattimer, critic on the Chi- cago Journal, has been engaged to lecture on Musical History. Mr. Herbert Houston plays with the New York Symphony Orchestra in February. * ok x Additional engagements on Miss Christine Miller’s schedule are: Feb: 25, “Dream of Gerontius,’ Oberlin, Ohio; March 11, recital, Schubert Club, St. Paul, Minn.; March 13, Beethoven Ninth Symphony, Philharmonic Club, Minneapolis, Minn.; April 23, recital, Corey, Penn.; April 24, recital, New Castle, Penn.; April 30, Stabat Mater, Beaver, Penn. * * Miss Irma Haight sang at a Twilight Recital in the Unitarian Church in Des Moines, Ia., in February, giving “The Bell,” Saint-Saens; “OQ, Had I Jubal’s Lyre,” Handel; “The Wil- low,’ A. Goring-Thomas; “The Nightingale,” Alibieff; “A Little Thief,’ Leo Stern; “Traum durch die Dammerung,” Strauss; “Pastorale,’ Bizet, and “Vous Dansez Mar- quise,” Lemaire. x ok x Mr. Bird gave the second of his Historical Cycle in February, and proved again his splendid virtuosity of technic and his very good analytical powers in the reading of mas- ter works by Schumann and Chopin. Mr. Bird is a pianist who easily ranks among the first in Chicago and the Gottschalk Lyric School is to be warmly congratulated on the splendid series of recitals given by him this season. * * x The February “Festival” Service at St. James’ was of extraordinary effectiveness. The boys sang an Anthem by Parker in a way to prove that they stand easily in the very front rank of church singers, Mr. Ed- ward Walker sang a Handel Aria in splen- did stvle and Mr. Dickinson was heard at his very best in the Schubert “Military,” a Godard “Berceuse” and a Weber “Overture.”
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NEW YORK RECITALS AND MUSIC: NOTES By LEO TECKTONIUS SCAR HAMMERSTEIN has done more to promote modern opera in America than any director America has ever had. The new addition to the already large reper- toire is “Siberia” of Giordano. It is wonder- fully interesting from start to finish, thorough- ly Russian, which is rather surprising, consid- ering that it was written by an Italian. But he has made good use of the Russian folk songs and airs. The opera is in three acts, the first taking place in the palace of Stephano, a beau- tiful courtesan, who is the object of the atten- tions of Prince Alexis, General Walitzin, and other Russian noblemetr. Her affections, how- ever, are centered in Vassili, a poor young of- ficer, whom she happens to meet on the street. However, Stephano is caught in the company of Vassili by Prince Alexis, and there and then they fight a duel, in which the prince is killed This ends the first act. x *k x The second act shows us the halting place for prisoners at the Siberian frontier, the only point at which convicts are permitted to see their dear ones for the last time. Vassili is among the wretched ones. It is a most pa- thetic picture. Just before starting on the ter- rible journey sleigh bells are heard and Stephano enters. She hands a paper to the captain and is allowed to fly into the arms of her lover. She is determined to share his fate in spite of his entreaties that if she did she would not outlive the terrible sufferings of penal servitude. Sar we The third act takes place in the penitentiary of the trans-Baikal mining district. It is Easter eve. The inspector of prisoners is walking up and down before the hut 107 where Vassili and Stephano live together. An invalid is waiting for Stephano to come out and ask her for a few rags, telling her at the same time that she can easily escape with Vassili if they so wish through a ditch that he points out to her. Stephano hurries to relate this to Vassili. The lovers finally decide to make their escape, but an enemy whom Stephano has rebuked in the former days realizes that they are to es- cape and gave the alarm. Stephano is shot in the attempt and dies in Vassili’s arms. ee eae The music throughout is rather Wagnerian and gives splendid opportunities to most all the principals. Mme. Agostinelli took the leading role, Stephano, Bassi that of Vassili, Sammarco that of Gleby, and Cazauban Prince Alexis. The Mise en scéne was splendid, the chorus never in better shape; in fact, I have never heard a better performance tout ensemble at the Manhattan. Mme. Agostinelli, Sammarco, and Bassi share equally alike in the way of ap- plause, being recalled many times after each act. MME. MARIE CROSS NEWHAUS This artist is one of the most striking exam- ples of successful women in New York city musically, intellectually, and socially; in fact, her influence is felt in many cities of the Unit- ed States through her musical programs, writ- ings, and public addresses given before large gatherings of men and women in this country and abroad. Mme. Newhaus is born of an old and dis- tinguished family. Her grandmother was Penelope Knickerbocker, who married Dr. Tennant, an uncle of Dorothy Tennant, now Lady Stanley, the wife of the famous and late- ly deceased explorer, who was knighted by Victoria. Her father’s family, of old Norman stock, was noted for its musicians, painters, sculptors, and inventors; and Mme. Newhaus has inherited many remarkable talents which have made her life one of great interest. From her early youth she has been a student and during her years spent abroad she studied with many of the great masters—Lamperti, Marie Sasse, who created Selika in “L’Africaine,” and Elizabeth in “Tannhaiiser” under Napo- leon the third; also with Borthy and Marie Roze, receiving much private coaching from Massenet, St. Saden, Chaminade, Patti, and other musicians of note. For a number of seasons Mme. Newhaus toured with Strakosch all through modern Eu- rope, meeting unqualified success with her beautiful, sympathetic voice and magnetic per- sonality. Desirous above all else to establish a school of voice and diction in America where every branch of art could be properly ac- quired from the voice placement to the perfect diction and fine repertoire, she studied for years to accomplish this end and is constantly instructing both amateurs and professionals in five different languages. In 1900 she returned to America and located in New York, from the first meeting with almost phenomenal success. Her sincerity is proverbial and her criticisms just. The financial issue counts for naught if any applicant is truly gifted and too poor to study. As a public speaker Mme. Newhaus has won a marked success, for she addresses an audi- ence with great ease and elegance, winning the hearts of her audience instantly. She is a prominent club woman and moves in an exclu- sive social set where her clever wit as a “ra- conteur” is keenly appreciated. During the season of music in New York she gives fine musicales, invitations to which are much sought for. Nearly all the singers of note living there
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182 MUSIC AND DRAMA or singing at the opera gather at these evenings of music. Mme. Newhaus is a philanthropist, and every moment of her spare time is spent in educating talented people or caring for the des- titute children of New York city. Every sum- mer she goes abroad and studies the new music of interest and keeps in touch with musicians and their works. Her pupils are legion, both amateur and professional, and several are cre- ating favorable comment on the other side. Elise Davison Pennock has been singing this season with great success in Florence, Italy; France, Germany, and England. Cables from London during the past month have been most flattering. Mrs. Edmund Osthaus, wife of the well known animal painter, has sung all through the states in concert and gave a series of re- citals in Munich and other cities during their stay abroad. Miss Elizabeth Boyd has one of the best lyric sopranos among the young professions in New York city. She is about completing a strenuous season of church and concert work, and will go to Paris in April to complete her already extensive repertoire. Miss Mabel Guile has followed in the steps of her teacher and has established a school of voice and diction just out of New York, be- sides doing a great deal of classical concert singing in French and German, as well as Italian. Many of the oldest professionals in New York are working with Mme. Newhaus and her interest in all sincere and true-hearted mu- sicians has made her name honored and re- spected among them. KATHARINE GOODSON PIANO RECITAL Katharine Goodson’s piano recital was a rare treat to lovers of good piano playing. Her program was long and varied, one that demanded strength, endurance, delicacy, and wonderful interpretative powers. Mozart’s sel- dom heard Sonata in A Major was beautifully and clearly played in the true Mozart spirit. The Rhapsodie Op. 119 No. 4 of Brahms, one that is least known, revealed great beauties under the magic fingers of Goodson. It is more brilliant than his other rhapsodies, al- though perhaps not as deep or subtle. The Fantaisie (“Der Wanderer”) Op. 15 of Schu- bert is well named, for it wanders up and down the piano until you think it will wander on forever. The painful part of it is that you see so many places where he could have ended it and made it well worth hearing again. But as it stands all you can do is to feel thankful that it is finished. Goodson did it full justice nevertheless and is deserving of lots of credit for the masterly way in which she played it. rather lengthy piano epistle of Schubert and Schuman’s Papillons was refreshing after the called forth hearty applause. The Chopin Etudes Op. 25 No. 1, Posthumus No. 2, Etudes Op. 25 No. 3, and Op. 25 No. 9 were all delightfully played. The Chopin group closed with the Valse Op. 42. Goodson was obliged to play an encore of this group and re- sponded with another of the Chopin valses. The last group consisted of the Reverie of Richard Strauss, Etude Espenlaub of Sauer, Rigandon (new) of Arthur Hinton, who, by the way, is the husband of Mme. Goodson, Etude Fantastique of Joseph Holbrooke, and closing this long and varied program with the much hackneyed Rhapsodie No. 2 of Liszt. The Strauss Reverie is a little beauty, merely a tone picture, but exquisite in its depth and delicacy. The Etude of Sauer requires a splendid technic and a good wrist and is rather effective. Holbrooke is an Englishman with rather vague notions about composing. You always wonder what he is trying to get at. The Liszt Rhapsodie was very well played, es- pecially the parts Mme. Goodson saw fit to perform for us. At the close of the program the audience called for at least three encores. MR. WESLEY WEYMAN Wesley Weyman’s recital at Mendelssohn Hall brought out a good sized audience con- sidering the evening and the many other at- tractions. Weyman is a very serious artist, who is sure to come to the front providing he keeps up the good work he has started. He presented a rather ambitious program, includ- ing MacDowell’s Sonata, Intermezzo Op. 26, Wiegenliebchan and Novelletti Op. 21 No. 2 of Schumann, a group of three etudes of Chopin, and a group of Liszt, which closed the program. He is possessed of a good technic, a tone which fairly sings at times, and, above all, good brains, which is half the battle. All in all, the recital was a good example of what can be done in America without going abroad for even the so called atmosphere—for Wey- man has never crossed the pond. SAM FRANKO’S CONCERTS In these days of modernism it is quite a re- lief to be taken back a couple of centuries into the world of old music. There is really noth- ing more enjoyable than to sit and listen to the Don Juan Suite of Gluck (1714-1787) as played by Sam Franko and his capable body of artists, or, in fact, any of the numbers on the program, including the trio for string or- chestra and piano of Ph. Em. Bach (1714- 1788), the dances of Beethoven (1770-1827), and the Symphony No. 33 of Mozart (1756- 1791). The orchestra is well balanced and does remarkable work under the able con- ducting of Mr. Sam Franco. These concerts are becoming very popular and every concert finds an increase in the audience. The con- certs are always given in Mendelssohn Hall.
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I. J. Paderewski The Great Polish Pianist writes: The only objection I have to the ‘‘WELTE- MIGNON” is founded exclusively on its name, as the latter is not in keeping either with its tremendous effect or its enormous tmportance. The Welte-Mignon Piano reproduces the playing of the world’s leading pianists, in its details. No personal mani- pulation. All Automatic. Write for catalogues. The Welte Artistic Player Piano Co. 398 5th Ave., New York Sur Pl AYOLA SABINET: GRAND PIANO PLAYER The Latest and Most Perfectly Finished Piano and Player Combined The Playola makes a finished musician of everybody SPECIAL POINTS .o SUPERIORITY The player is in the piano, no ugly outside attachment, and only the space of the regular upright piano is occupied in a room. You can play as an ordin- ary piano or with the player. Any child can make the change in less than fifteen seconds. The action is easy and can be played bya child without fatigue. Every class of music can be played and any 65 note role of any ordinary piano player can be used. Perfect expression, brilliant execution. Insist on seeing and playing the Playola before you purchase. THE PLAYOLA PIANO COMPANY Rooms 800 to 804 Republic Building : : : : : : STATE STREET, Corner Adams, CHICAGO
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Rich in Tone and Musical Quality. Many say it is the World’s Best Violin, Beyond a doubt it ranks high as the following endorsements from men of standing will attest: Having had my new violin and my Dominicus Montagnana dated 1740, repaired and improved in tone value by Mr. A.W. Van Dorston, I can now say, after several months use, that his work cannot be equaled in any degree, and far excels the work of the old masters with the many years of drilling which they have received, included. One of the peculiarities of his tone development is that he does not change the character of the tone but builds up all the essentials necessary to a per- fect violin for quality, richness, responsiveness and greater power than possessed by the old eremonas. FRANK F. WINTER, Soloist and Teacher of the Violin, April 27 1907. 642 Washington Boulevard, Chicago. 1 am glad to state I"am using, in my concert{tour, a violin especially made for me, by Mr. A. W. Van Dorston, whom I regard as the best and most expert of all violin makers. His violins (as I have examined several of his own make) possess all the beauties of old violins, while the power and tone is simply astonishing. Iam playingin my present concert tour, several Bach’s Sonatas for violinialone, and find my Van Dorston violin of great enjoyment_to the audiences, and sat- isfaction to myself. May 14, 1906. ERRICO SANSONE. FACTORY: 824 VAN BUREN ST. REPAIRING A SPECIALTY Tone Placing Frederick Bruegger Style RAFAEL NAVAS Pianist For dates, terms, etc., address J. E. FRANCKE 1402 Broadway, New York Studio, 834 Carnegie Hall, New York Pupils Accepted KIMBALL HALL, CHICAGO WM. A. WILLETT, Director ANNETTE PANGBORN, Secretary Giving the highest education in Vocal Music and offering to meet the demands financially of all students of talent. A personal interest in each pupil. TTSCHAL G° LYRIC SCHOOL KIMBALL HALL :: :: CHICAGO| VIOLIN—Joseph Silverstein Van Dorston Violin Voice Building Studio: 721 Fine Arts Building, Chicago © Willett School of Singing VOCAL—Mr. and Mrs. Gottschalk—Miss Hedwig Nurnberger PIANO—Clarence Bird, Director; Leschetizky:Method Mrs. Carrie R. Beaumont—Mr. W. R. Underhill—Miss Alice Sloan MR. MAX BING pon ht FO Bee 620 FINE ARTS BUILDING IRMA HAIGHT SOPRANO Director of the Albert Lea College School of Music ALBERT LEA, MINN. Dunstan. Collins Musical Agency, Philip Ray, Manager AUDITORIUM, CHICAGO MISS Sherwood Music School 714 Fine Arts Building, Chicago WILLIAM H. SHERWOOD, Director Completely equipped and offers the best modern advantages and methods in all departments. For Catalog address LENA G. HUMPHREY, Mgr. CLARENCE DICKINSON | CONCERT ORGANIST Organist St. James Episcopal Church and Anshe Mayriv Synagogue; Conductor Musical Art Society, and Aurora Musical Club; Director Cosmopolitan School of Music. Auditorium Building CHICAGO ROBERT ADAMS BUELL PIANIST For terms and dates address Lawrence University Conservatory of Music APPLETON, WISCONSIN DR. W. CARVER WILLIAMS BASSO Concert, Oratorio, Recital, Voice Development and Repertoire. 9th Floor, Auditorium Building, Chicago Phone Harrison 5169 MARVIN DARWIN GEERE BARYTONE ORATORIO, CONCERT, MUSICALES For terms and dates apply to - ! LEROY B. CAMPBELL, Warren, Penna. COMPOSITION—Otto Wolf
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The Chicago Piano College STANDS FOR PIANO-MUSICIANSHIP For Catalogue and Concert Tickets address CHARLES E. WATT, Director, KIMBALL HALL, 243 WABASH AVENUE THE BEAL PIANO SYSTEM CHRISTINE MILLER = ABE gt cen Ear Training, Sight Reading, Dictation Writ- ng, Sight Transposition, Interpretation and Memorizing. Beginners transpose all work up to third grade Contralto within seven months. Demonstrations publicly given. Pittsburgh Academy Pittsburgh, Pa, For catalogue and programs, address THE BEAL NORMAL PIANO SCHOOL Re- engaged by the Chicago Apollo Club for ‘‘The Messiah,’’ Dec. 25-27, 1907 SPRINGFIELD, MISSOURI OFFICE. PHONE HAR. 669 HOUSE SEELEY 5884 HOLMES COWPER | H. W. OWENS, Mus. B. TENOR —__— Voice Building Coaching Theory and Composition. Pupils prepared for Church Concert and Oratorio. Director of Winona Lake, Ind., STUDIO : 629 FIN E ARTS BUILDING Conservatory on Monday, Tuesday and Wednesday. Studios (1105 Steinway Hall; Fridays. | PHONE 1610 HYDE PARK, CHICAGO Chicago ( 733 Wash. Boul.; Saturdays. GRANT HADLEY °*crt” BASS-BARITONE Auditorium Building, CHICAGO RECITALS Miss May Reynolds MRS. ANNA BARNES CRANE a MISS KATHARINE CRANE AND China ee ~ Water Colors eee oS : : : STUDIO PHONE .115 Auditorium Tower, Chicago 114 AUDITORIUM TOWER, CHICAGO HARRISON 6503 Studies to Rent Telephone Harrison 2369 STUDIES TO RENT GRACE VENABLE HAIR DRESSING AnD MANICURING Mrs. Lydia Dunham Smith PhoneCentral 58° M2STATE ST., CHICAGO Water Colors and Miniatures THomwnoe Hu. MURRAY D d Cratts Worker Monday 114 Auditorium Bldg. Ww. fae <i Woetal: Weeks Wednesday and Private Instructions w Saturday Studies for Rent CHICAGO Teiephone Harrison 6503 1701 Auditorium Tower, Chicago BEGIN THE NEW YEAR RIGHT By subscribing for the Fine Arts JournaL and you will receive post’ "paid a beautiful Sepia percescien of a famous painting, value $2.00, ready for framing. New volume begins with the Jan. issue. Address PUBLISHER, 303 Herald Building, Chicago.
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NORTHWESTERN UNIVERSITY —————— _ EVANSTON - CHICAGO ——____—_ SCHOOL OF MUSIC A University Professional School, for the comprehensive study of practical and theoretical music, either asa profession or as an element of culture. Located upon the shore of Lake Michigan in Chicago’s most attractive suburb. I. Course inapplied Music, leading to the Degree of Graduate in Music. II. Course in Theory and History of Music, leading to the Degree of Bachelor of Music. III. Post-Graduate Course. IV. Literary-Musical Course. The pewr TAILORS MICHIGAN AVENUE AND ADAMS STREET CHICAGO > @mpany gich-in-Tone PLANO from the world’s largest music house. Is this what you really would like to own? Splendid MUSICAL QUALITY as well as the best value for the money beyond theshadow ofa doubt. Write for copy of ‘‘A Piano Book’’ (Free) which describes twenty leading makes of pianos, illustrates all the latest case designs and quotes the lowest net New York and Chicago prices. Easy monthly payment accepted. Pianos shipped everywhere. Write for the book. LYON & HEALY, adams, CHICAGO V. Course in Public School Music Methods. Courses I, II and V include literary studies in the College of Liberal Arts or Academy without extra expense. A thorough Preparatory Department is maintained. The environment is perfect and social advantages superior. Faculty of 25. Catalogue upon request. P. C. LUTKIN, Dean, Evanston, IIL. THE WORLD’S BEST VIOLIN VAN DORSTON, Maker S24 Van Buren Street, Chicago. The COSMOPOLITAN SCHOOL OF MUSIC AND DRAMATIC ART (INCORPORATED) CLARENCE DICKINSON, Director VICTOR HEINZE, President DR. WM. CARVER WILLIAMS, Registrar Auditorium Building, Chicago Every Department thoroughly organized and under the direct supervision of Instructors of International Reputation, whose fame in their special lines of work is an absolute guarantee of the highest standard obtainable. MASON & HAMLIN PIANOS USED For Catalogues and further information address REGISTRAR THE ANNA GROFF-BRYANT INSTITUTE ot THE NEW SCHOOL OF VOCAL ARTS (Discovered, Organized and Established by Anna Groff-B) yant.) In addition to the regular vocal work, a full graded course in Poetry, Dramatic Expression, Physical Educatio.. and Developmet.t is provided for singers, together with a complete academic training in all the requirements of thorough musicianship. MA U A separate rounded-out education is provided for students wishing to become Vocal Teachers PATHOLOGICAL DEPARTMENT. Those suffering from Pathological conditions of the Vocal Organs may here rece ve ou1 new advanced Vocal Science treatment. Students may enter the Institute at any time for private lessons in Voice, German, French and Harmony. Vocal Patients received at all times. Send for new booklet aad the “Institute,” a periodical published from time to time devoted to the advancement of vocal sciences and arts and the singer’s education, by Anna Groff-Bryant. For further information regarding the work at the school, address MARION G. GROFF, Secretary, 523 Fine Arts Building, Chicago. HINSHAW CONSERVATORY Peon, tap, Eocuion, Oraory, Fence , Acting, Opera, Drama, deville, Kimball Hall, CHICAGO, ILL. Dr. William Wade Hinshaw, Director SR a seo aoe Se ra
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A Coad Money Maker This portable Vacuum House-cleaning machine will earn rom $25 to $50 per day-—expenses about $6. rg Sir gry tm or ing g carpets, without removal from the ae out che. ‘dust — uke in the pbc 2 In big cathe the year ‘round for stores, etc. A clean, legitima te tarlenenddent ieee at good prices, ncn ham $3 000 to $5, 600 per year to men with about $3,000 Wagon Agents Wanted e ager vs ‘$s are fits. a erating as many as four outits If you don’t care to buy,} Exclusive territory with practic- all pel gangy mg er be ; De tes i baneats eek We also install stationary mean ay een and can fur-] - vacuum cleaning plants in nish references. - residences and public buildings of all kinds. AMERICAN AIR CLEANING CO., MILWAUKEE, WIS. INTERNATIONAL Wabash Avenue, Two. Blocks South of Adiionar Telephone Harrison 5353 ENGLISH OPERA BY 80 AMERICAN ARTISTS New Opera Each Week Every Night ie Sunday); Saturday Ms tiaes. 25c, 50c, 75c, $1. Wednesday Matinees 25c, 50c. Seats one week ahead at box office and Lyon & Healy's COLONIAL THEATRE BEAUTIFUL CH Go A GO Playing Now and for the Eatire Season HENRY W.SAVAGE’S Magnificent Presentation of “THE | ~MERRY > “WIDOW” ‘Franz Lehar’s Musical Wildfire Suc- cess of the Whole Civilized World Augmented Orchestra of 32 Pieces— Full Hungarian Band—All-Star Cast —The Extremity of Elegance GARRICK The Play That is Making ~All America Think THE WITCHING HOUR | By ee AUGUSTUS THOMAS
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SE SAL wa a ee eye | t ae eae Fine Arts hotel and the — National Art Society “ANNOUNCEMENT | | N the November issue of THE FINE ARTS JOURNAL we announced our connection with THE NATIONAL ART SOCIETY as their official organ: To those not familiar : ~—' with the work of: this Society, we wish to state that THE Ee © NATIONAL ART SOCIETY is doing as much or more for the promo- | tion of art in America than any other art organization in existence. | The character of its literature; the prominence of the men who are ~ | : editing it; the equipment of its publishers, who are putting out the -. work, commands for it at once the confidence and endorsement of the - art loving people of this country. | @For a very moderate fee THE NATIONAL ART SOCIETY guarantees to deliver to its members an entire series of text books, entitled ‘‘THE FINE ARTS,” bound in special parchment board; also for twelve consecutive months a series of Study Brochures on ‘The Fine Arts,’’ consisting of questions, answers, biographies, etc., based on the text books and prepared by Edmund Buckley, A. M., Ph. D., the editor-in-chief of ‘‘The Fine Arts;’’ also to issue a certifi- cate of Life Membership, entitling the members to the benefits and privileges of the Society; and last but not least, to enter each mem- ber’s name for a year’s subscription to the FINE ARTS sOU ES AL, the official organ of The National Art Society. q With the superb organization of the publishing department of The National Art Society, back of the Fine Arts Journal, we have reached a new era of prosperity in our career and “will, within the next year, double or treble our circulation. | - @ Thejheadquarters of The National Art Society are located. in the Ellsworth} Building, Chicago, with branch offices in St, Louis, New York,{ San Francisco,j Kansas City, Atlanta, Pittsburg and Boston. | For further information address THE NATIONAL ART SOLES Chicago, or THE FINE ARTS JOURNAL bate RECORD HERALD BUILDING, CHICAGO