The Sketch Book: A Magazine Devoted to the Fine Arts (December, 1906)

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THE SKETCH BOOK Good Literature AGAZINE CIRCULATION may include the prime requisites of quantity and quality in a general way, but no matter how large numerically and of what high character, there may be lacking the still more important attribute of distinctive fitness for exclusive, specific service. A magazine may seem 80 ap- propriate as an advertising medium that the element of. “hit and miss” is effectual- ly disposed of and yet have a cold and _ dignified clientage—hard to impress and unduly slow in acting when impressed. ‘THE SKETOH Boox is paying from two to six dollars per line for its own ad- vertisement in general magazines in order to add to its subscription list _ practically all of the people of the United States interested in American art and decoration.. A clientage secured by ad- vertising is naturally responsive to adver- tising. Those accustomed to studying carefully edited advertising pages of fa- miliar journals and who are iecare in- duced to subscribe to a class organ like THE SxetoH Boox will surely give the same close attention to the latter’s well arranged and carefully censored advertis- ing pages. Just a moment, please, to consider that you can, during this month only, make a yearly advertising contract with the THE SKETCH Book at 20 cents per agate line, 25 cents for six months; 30 cents, three months, for consecutive issues. The past circulation amply justifies the above rates for six and twelve months, re- spectively, and has produced such results that regular advertisers, like F. W. Devoe and ©. T. Raynolds Company (New York), Joseph Dixon Crucible Company (Jersey City), Burley & Co. and Rein- hart Art Galleries (Chicago), quite re- cently gave cordial testimony to THE SxetcH Booxr’s merits as a profitable ad- vertising medium. The Commercial National Bank of CHICAGO Capital Surplus and Undivided Profits, $3,900, 000 Deposits, $39,000,000 JAMES ECKELS, PRESIDENT NATHANIEL R. LOSCH, CasHiER DIRECTORS FRANKLIN MACVEAGh E. H. GARY WILLIAM J. CHALMERS DARIUS MILLER CHARLES F. SPALDING ROBERT T. LINCOLN WILLIAM V. KELLEY OSEPH T. TALBERT JAMES H. ECKELS This bank is pleased to place at the disposal of its customers the facilities gained during forty years of continuous service and growth Please mention The Sketch Book when writing to advertisers.

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ee SS ee ee 7 Rookwood Pottery and. Meriden Silver Ms QELEEE ELE ELE LETTE debsebebedbdebeebeebeedabeebeebedb ebabebededbebebedbee lf You Wish Something Unique of lasting artistic value, for a gift or for your own home—something that will always be prized—send for a copy of The Rookwood Book, which illustrates by handsome color plates many charming pieces of Rookwood in the different types. ROOKWOOD POTTERY Is A Most Welcome Gift There is nothing more beautiful in pot- tery than genuine Rookwood—nothing more worthless than the imitation. This mark is $854, and there ts impressed in = ' wo Rookwood every piece § without it. Grand Prize, Paris, 1900: Two Grand Prizes, St. Louis, 1904. Rookwood is sold only by Rookwood agents in each city and at the pottery. ) 1HE ROOKWOOD POTTERY se Cincinnati + © Ohio, U.S.A. PEELE EEE EEE EEE EEE EE EEE EE EEE EEE EEE EE PE EEE LEED STERLING SILVER Sterling Silver of our manufacture is notable for its substantial weight, elegance re) esign, an perfection of workmanshi ‘ and includes a long list of articles, ranging from the smaller and less expensive to the more elaborate pieces of considerable in- trinsic value; comprising Table ware, Toilet articles, fancy pleces, suitable as gifts, and. other articles in many pleasing patterns. Chests and Cabinets of matched pleces, suitable for wedding and anniversary gifts. Silver Plated Ware The unrivalled reputation of the Silver Plated Ware of the Meriden manu- facture is more than maintained by the designs shown this season. Every article required for the modern table is represented ina great variety of appropriate designs, while the sets in single pleces for the side~board, the desk and dressing table, offer a wide latitude of choice for the discriminating purchaser. The MERIDEN CO.), Silversmiths INTERNATIONAL SILVER CO., Successor FACTORIES ? 218 FIFTH AVENUE, . Hamilton, Ontario MADISON SQUARE, NEW YORK Please mention The Sketch Book when writing to advertisers. EEEEEEEDEEEDELEEE EELS ELE DE EEE DE ELEET PELE EEESD THE SKETCH BOOK pte EEEEELEEEELEEELELEL ELE EE EEE EL ELLE LED ELLE ELLE LEE BEL EEE EE LLL pL LG [1]

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THE SKETCH BOOK ‘! Good Literature Beautiful Gift Books A NOaiS in Arcady By Ralph Henry Barbour | A new novel from | the graceful pen of Ralph Henry Bar- bour, author of “An Orchard Princess” and ‘‘Kitty of the oses.”” Elaborately illustrat- ed in colors and tints | by Frederic J. von Rapp. Small quarto. Decorated cover, in gold, with medallion, in a box, $2.00. The Adventures of Joujou By Edith Macvane The daintiest and most charming love story of the year. Fifteen full-page illustrations in colors by Frank Ver Beck and page decorations by E. S. Holloway. Square octavo. Ornamental cloth, in a box, $2.00. The bare - Go - Lucky Transl, from the German by Mrs, A. L. Wister. Sumptuously illustrated in colors and tints. Deco- ratively bound in cloth and enclosed in a box. $2.00. Ver Beck’s Book of Bears Wording by Hanna Rion, Hayden Carruth, and the artist. BRUIN AT HIS BEST AND FUNNIEST The illustrations number seventy-five, drawn by Frank Ver eck. Some are in full colors, others in two colors, and some in tint: Bound. in boards, with special cover design in col- ors, a J. 5. Lippincott Co. Philadelphia. PHILADELPHIA ART NOTES. - annually to the exhibition of paint- ings held by the Pennsylvania Academy of the Fine Arts, created by the fact that the Academy as the oldest insti- tution of its kind in the country has a prestige in the artistic community which is second to none, has made it possible for the '[T Square Club, in holding their exhi- bitions in the galleries of the Academy and under its auspices, to arouse in the architectural profession and in the allied arts and trades an interest in the exhibi- tion of this year which renders is perhaps 2 HE great national interest attaching - the greatest of its kind ever held in this country. The management of the T Square Club have endeavored to give to the exhibition an educational character in the broadest sense of the term. They hope that it will not only attract the profession and’ those more intimately connected with it, but that it may interest the public generally to whom the subject matter of the exhibi- tion is perhaps not properly directly at- tractive, and their hopes should most sure- ly be realized, for they have been very successful in obtaining exhibits bearing on matters of much interest to the public ‘in many different ways. ‘To still further advance their end the Academy and the T Square Club have asked the National So- ciety of Mural Painters, National Sculp- ture Society and the American Society of Landscape Architects, to associate them- selves in the exhibition, with a view to showing the executed work of the allied arts in connection with the drawings of the architects. | The exhibition comes at a time peculi- arly propitious in two ways; first, the great interest which has been aroused the country over in the movement for muni- cipal improvements, both in the way of the opening of great boulevards and the [11] Please mention The Sketch Book when writing to advertisers.

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Nc, eRe eI _ Cle ne ene yi nye te ART NRG COTE REN EI RN ELI CE AEN IE IN EEE SE NE TNE ETERS RE TIES AT . * woe : Good Literature Scribner Holiday Books THE QUEEN’S MUSEUM and The Fanciful Tales By Frank R. Stockton With ten full page drawings in full colors and Sketches in black and white By Frederic Richardson . The best and most popular of Stockton’s inimitable fairy stories, full of the whimsical humor and gay spirits that make them perfect of that kind and beautifully illustrated in sympathetically quaint and fanciful manner. THE FIRST FORTY YEARS OF WASHINGTON SOCIETY From the letters and journals of Mrs. Samuel Harrison Smith (Margaret Bayard), edited by Gaillard Hunt with numerous illustrations and portraits. The brilliant account of a hitherto almost untouched period of Washington life in the early part of the nineteenth century, with personal reminiscences of such people as Jefferson, Madison, Clay, Crawford and Harriet Martineau. $2,50 net, postage 20 cents. CAMP FIRES IN THE CANADIAN ROCKIES By William T. Hornaday With 70 illustrations from photographs by J. M. Phillips. “The reader isdefied to find any dull pages in this: besides which there is a world of information and intelligent comment and in addition the wonderful pictures of Mr. Phillips.” —Chicago Inter-Ocean. BY ITALIAN SEAS By Ernest C, Peixotto with drawings by the author. 2.50 net, postpaid, $2.67. ‘He describes pleasantly with pen and pencil leisurely travels with sudden leaps. The beautiful view of Ragusa and other sketches of Dalmatia make the reader regret that he did not linger longer—New York Sun. RICHARD HARDING DAVIS’ REAL SOLDIERS OF FORTUNE ra, In nis splendid novel “Soldiers of Fortune,’’ Mr, Davis gave a brilliant picture of an idea} adventurer. but here in ‘Real Soldiers of Fortune’ he describes in the same vivid way the astonishing careers of such men as Baron Harden- Hickey, General Walker and Winston Spencer Churchill and’Burnham, Chief of Scouts. Illustrated. 12mo. $1.50 net. postpaid. CHARLES SCRIBNER’S SONS NEW YORK Sketches for Lithogra- phers and Designers 100 Designs in the Modern Spirit By JULIUS KLINGER Motifs for Posters, Menus, Labels, Invitations, etc., also suggestions for Book Covers, Book Marks, Head and Tail Pieces, etc. 16 plates reproduced in tints. In portfolio, size 11 1-2 x 16 in. PRICE, $2.70 BRUNO HESSLING CO., Ltd. 62 East 12th Street ‘Bn: Books as Gifts | of permanent value, suitable for any occasion, including school use Monographs on Artists fully illustrated, tastefully bound in cloth $1.50 each. RAPHAEL-HOLBEIN-REMBRANDT VANDYCK-DURER-BOTTICELLI LEONARDO DA VINCI DONATELLO-RUBENS NEW YORK, N. Y. Subscriptions solicited to the leading German art papers: THE SKETCH BOOK Lemcke & Buechner ESTABLISHED OVER 50 YEARS 11 East 17th St., New York Please mention The Sketch Book when writing to advertisers. Kind und Kunst. Monthly ............ per year, $3.50 AI78, Die Kunst. Monthly .................5 wn ae Charles Schenk, ors <p — ay st Deutsche Kunst & Dekoration. Monthly ‘* ‘* 7.00 “all <a thie fall ew xo ® y, Dekorative Kunst. Monthly .......... + Mo ESO . Fecommends especially to artists the following works : Kunst fur Alle. Bi-weekly............. Cae eae Yr Artistic poses of male, female and children. Kunst & Handwerk. Monthly......... She 4.75 Allegories, aes pee - Plates, eer ie Gentine he oa Zeitschrift fur Bildende Kunst, incl. Cantle ‘ni Ties: ates, $7.UU. ; ro Maes y Hynais & Marioton, 21 Plates, $5.00. Kunstchronik. Monthly,.......... 9.00 Document Li thographie, 40 Plates, $8.56 raperies in A.ction, ates, -UU. ; Best facilities “3 eine sh Foreign Books Lyangrun, New Ideas in Ornaments, 23 Plates, $5.50. sare teat eon Decorative, 27 Plates, see 5.50. Compositions (Figures) 26 Plates, $6.00, Pilters, Fantasie Florale, Part | and 2, at $8.00. Poses of Children, 78 Photos, complete, $10.00. Wild and domestic Animals Photos from life, 43 Plates, $8.00. Anatomie of Horse, 24 Plates, $5.00. All orders C, O. D. or M. O. promptly delivered. [111]

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THE SKETCH BOOK beautifying of these with monumental structures ; second, because at this time of _ great prosperity, vast sums are being ex- pended commercially and in the improve- ment of transient facilities and the hous- - ing of government and municipal offices. The management has been able to se- cure a very representative exhibition in all these directions with certain work from other countries directly bearing on these subjects. In the handling of the exhibition in the galleries, the management again has been most fortunate. The grouping is happily such that a visitor may find the exhibit bearing on his particular subject readily: On the left, at the head of the staircase, the wall space has been devoted to the general subject of municipal improve-— MOST OF THE BOOKS FOR PAINTERS ARE PIFFLE; HERE IS ONE ' YOU SIMPLY MUST READ Old Masters After twenty-five years of experiment and research the author, Albert Abendschein, has solved the long-sought mysteries of the classic methods of treatment, mediums, grounds, varnishes, — canvas, Oils, palettes, etc. @ Of what avail is your technic or your inspiration if your colors turn sour and yellow? You are like a dead singer—only a tradition. This is a book that will really help you. Here is what two painters have written the author: | JOHN W. ALEXANDER. Your book gives me what I have been looking for for years. ROBERT W. CHAMBERS. It is the most important work on painting I have ever read. Cloth, $1.00 net (postage 10c additional). Circular on request. D. APPLETON & CO. 4s fab Aen, Now York | Good Literature Why are the colors of the old masters still clear and fresh after four cen- turies ? Do YOU want your paintings to live after you? or to turn black ? ments, notably to those of Washington, D. C., of the drawings for which there is a very complete collection. In the three rooms on the east front are grouped three categories of exhibits of very different characters. First drawings in black and white of executed work with working drawings for the same, and in many cases accompanied by a photograph showing the work completed, are in Gal- lery 1. The drawings of Messrs. McKim, Mead and White, of the great New York Term- inal of the Pennsylvania Railroad, are shown for the first time in this Exhibi- tion and are most interesting. Mr. Henry Hornbostle shows some of his drawings of the Carnegie Institute of Pittsburg, which, as examples of architectural study [iv] 3 Please mention The Sketch Book when writing to advertisers.

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Good Literature How to Study Pictures By CHARLES H. CAFFIN With reproductions af fifty-six famous paint- engs, and with complete index and glossary. THE exceptional charm and inspiration of this book will be acknowledged alike by be- ginners and by experts in the study of great paint- ings. Mr. Caffin makes the book as interesting as a novel. ‘‘But the most valuable element in this many- sided study is found in the author’s luminous critical analysis of the pictures and of the methods by which they were created. The whole is so easy to read, so clear, so kindly and unassuming, that one scarcely realizes its depth and authority until one has read it half through. “IT IS <A. BOOK... ‘THAT... WILL .- BE TREASURED AND RE-READ BY THOSE FORTUNATE ENOUGH TO POSSESs IT.” —Edwin L, Shuman in Chicago Record-Herald. $2.00 Net; Postage, 19 Cents THE CENTURY CoO. Union Square, New York THE SKETCH BOOK The Chateaux of Touraine By MARIA HORNOR LANSDALE A book beautiful, the text in two colors, on special plate paper, and with sexty illustra- tions zm color by Jules Guerin and from photographs in tint and black, cover in colors and gold. A companion volume to ‘Italian Villas’ by Edith Wharton, TO the stay-at-home and to the traveler, to the cultured reader and to the art lover, this book makes equal appeal. The early days of the Chateaux of Touraine are associated with the most thrilling and fas- cinating period of French history; and Miss Lansdale’s record is set down with an accuracy and authority that make the volume as valuable as the sympathetic and glowing treatment makes it al! uring. The pictures are as delightful as the text. $6.00 Net; Postage, 27 Cents THE CENTURY CO. Union Sauare, New York Limited Editions for Art-Lovers FRENCH PORCELAIN By E. S. AUSCHER., translated by WILLIAM BUR- TON, 24 plates in colors, 48 in Black and White, with Numerous Reproductions of the various Marks. Royal 8vo.. cloth gilt. gilt top, $10.00 net. Limited to 1,250 num- bered copies. FRENCH FAIENCE By M. L. SOLON, Edited by WILLIAM BURTON, 24 Plates in Colors, 11 Full-Page Reproductions of Marks on the Wares, and 54 Black and White Plates, Royal 8vo., cloth gilt, gilt top, price $10.00 net. Limited to 1,200 num- bered copies. : It would be impossible to find any one possessing so many qualifications to produce a work of the highest order on such a subject as Mr. Solon, A Frenchman by birth, an artist-potter of world-wide repute, and an acknowledged authority on the history of ceramics, his views will be wel- comed by every lover of French pottery, ENGLISH EARTHENWARE AND STONEWARE by WILLIAM BURTON, 24 Plates in Colors, 54 Black and White Plates. with numerous Reproductions of the Various Marks. Royal 8vo., cloth gilt, gilt top, price $10.00 net, Limited to 1,450 numbered copies, The marks have been reproduced by photography, so that collectors might have perfectly accurate data for refer- ence and comparison. A valuable glossary of technical a and a bibliography of the subject are added to each volume. : THE WATER-COLOR SKETCHES OF J. M.W. TURNER In the National Gallery An Edition de Luxe, consisting of 58 facsimile Repro- ductions in Color of pictures of the River Seine. the Rivers of England, and the Ports of England. with descriptive text by THEODORE A. COOK. $20.00 net. Edition limited to 1,200 numbered copies. JOY, GEORGE W., The Work of With an Autobiographical Sketch, 30 Rembrandt photo- gravures, 16 Reproductions in Color of Pictures and Draw- ings and Other Illustrations. Extra crown 4to, hand- somely bound, cloth gilt, gilt edges. $15.00 net. Edition limited to 1,000 copies. THE ART OF PORTRAIT PAINTING | By the Hon. JOHN COLLIER. A Practical Treatise, for the Student and _ Professional Painter, on the Art of Portrait Painting in Oil Colors. With 14 Reproductions in Color and 27 in Black and White. , $3.50 net . eo ACADEMY PICTURES, In this Sumptuous Publication All of the Best Works of Art in this Year’s Exhibition Will Be Found Reproduced in a Degree of Excellence Hitherto Unattained. Cloth, gilt, $2.00 net. Cassell & Company, Ltd., New York Office, 43-45 E. 19th Street Please mention The Sketch Book when writing to advertisers. [v]

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THE SKETCH Book Gifts and Good Literature Beautiful Gifts T is an established fact that in this store 1s displayed at all times a col- ; lection of artistic wares that stands apart and distinctive from anything else of the kind in Chicago. Persons of appreciative taste know that the UNUSUAL gift--the article that is original and exclusive--for Holi- days, W eddings, and Anniversaries can always be found here. A. CG. McCLURG @S COMPANY 215-221 WABASH AVENUE CHICAGO FOR LOVERS OF THE BEAUTIFUL The Connoisseurs. Library A Series of Twenty Works of Art (no more and no less) Edited by Cyril Davenport of the British Museum MEZZOTINTS IVORIES By CYRIL DAVENPORT, F. S. A. By A. MASKELL, with 40 Full Page Photogravure Illustrations. with 80 Full Page Illustrations. PORCELAIN ENGLISH FURNITURE By EDWARD DILLON, with 47 (28 Colored) Full Page Illustrations oe SREB ER aes and a key ‘to Porcelain Marks. with 160 Full Page Illustrations. MINIATURES | ENGLISH COLOURED BOOKS By DUDLEY HEATH, with 114 Illustrations (23 Colored, 41 Photogravure, and By MARTIN HARDIE, 48 Collotype). with 27 Full Page Colored Illustrations. Each in One Volume Royal 8-vo. Each net $6.75 OTHERS IN PREPARATION—SEND FOR ILLUSTRATED CIRCULAR. G. P. PUTNAM’S SONS 25 West 23rd Street, New York VI] Please mention The Sketch Book when writing to advertisers.

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Good Literature THE SKETCH BOOK Moliére: A Biography By H. C. Chatfield-Taylor Introduction by Professor T. F. Crane, of Cor- nell; pictures by ‘‘Job.’’ Pp. XXIV-446. $3.00 net; postage 18 cents. “The total result is a biography which will rank among the best that America has ever produced, a fine tribute to the genius of a great and friendly nation, and a permanent con- tribution to the world’s literature.”—Chicago Evening Post. The World’s Painters Since Leonardo By James W. Pattison The only book in print that gives an account, full, yet compact, of every painter and _ his principal works since Leonardo da Vinci. 80 half- tone reproductions. $4.00 net. Old Masters and New Essays in Art Criticism By Kenyon Cox Illustrated edition, cloth, gilt top, 311 pages. $2.50 net: postage 18 cents. - “Visitors to Europe who care for the art either of yester- day or of three hundred years ago,would dowell to put into their trunks, or, better, their handbags, Mr. Kenyon Cox’s collec- tion of essays and reviews. .... Let us once again bid those who enjoy the art of yesterday and today read ‘Old Masters and New.’ ’’—New York Evening Post. i @ EISEN Oy Rare Books [Illuminated MSS. Autograph Letters First editions of English and American Authors. Standard and miscellaneous books in all classes of literature. Many items suitable for Christmas presents, JUST RECEIVED A consignment of High-class Engravings and Etchings, Mezzotints in Colors, etc. Send for Catalogue of CHOICE and RARE BOOKS. just issued. WALTER M. HILL 833 Marshall Field & Co. Building 31 Washington St., Chicago and draftsmanship, are second to none, while the ecclesiastical work of Messrs. Cram, Goodhue and Furgerson, is well worthy of note. Messrs. Carere and Hast- ings’ delightful drawings for the new Na- tional Theater in New York, which is being put up by the patrons of art in that city for the benefit of the drama of our country, will be of interest to all. Messrs. D. H. Burnham & Co.’s original sketches for the beautifying of San Fran- cisco which were made by Mr. Edward Bennett before the earthquake and fire, and from which he made the final draw- ings, which were destroyed in the fire, | will prove of interest to all familiar with the San Francisco City Plan, and the development of this great improvement. The central room contains a collection of photographs covering executed work of every sort. From the National Park Bank of Mr. Donn Barber and the In- dianapolis Postoffice of Messrs. Rankin, Kellogg and Crane, through the whole gamut of architectural achievement, in- cluding country houses of all sizes, uni- versity work and many photographs of the treatment of gardens, avenues and gateways in this country and abroad. As matters of particular interest, we should note a photograph of the banking room of the Rochester Trust Company, by Messrs. York and Sawyer; the exterior of Mr. J. P. Morgan’s private museum in New York, by Messrs. McKim, Mead and | White; a charming country house, by Mr. George Bispam Page; the U. 8S. Court ‘House and Postoffice at Marble Head, by Messrs. Peters and Rice, and some de- lightful views of the buildings at Bryn Mawr College, by Messrs. Cope and. Stew- ardson. We should not leave this room without noting the model of the McKinley Monument, by Messrs. Lord and Hewlett, together with photographs of the exe- Please mention The Sketch Book when writing to advertisers. [vi1]

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THE SKETCH BOOK Fine and cuted work and the statues by Mr. J. * 9 e Dixon Ss Pencils Massy Rhind, for the Indianapolis Post- office. Give Perfection to Drawings The third room contains a collection of They range from the softest, | sketches and photographs of foreign travel smoothest, most delicate sketching crayons to the hardest of leads. which, in their spontaneity of execution, for the water colors, and in their remark- able selection of subject matter and com- Colored Rubber Solid position for the photographs, will prove Crayon Erasers Crayon an inspiration to all wl th vagy sabe an inspiration to all who see them. The drawings in color for work exe- cuted or in the course of construction in b 8 I ; : 2 . ry Prine gegerous, samples ot the galler y following the W ashington Artists. drawings by Messrs. Charles Platt, Wilson Kyre, Brockie and Hastings, Benjamin Wistar Morris, Cass Gilbert and many Joseph Dixon Crucible Company others, are all of interest as showing the : care which the American architect gives ; Pe ae to the study of his work, and the admir- saat esr ACS a able talent of many of them in present- Chicago Branch : Ng : ; ; : 1324 Monadnock Block ing their conceptions in a manner to in- telligibly put them before their clients. Art Industrial Books Walker’s Hand-Book of Drawing . . $1.75 Brown’s Letters and Lettering . . . 2.00 Meyers’ Hand-Book of Ornament. . 3.50 Blunck’s Lessonson Form ... . 8.00 Maginnis’ Pen and Ink Drawing . ._ 1.00 SENT POSTPAID ON RECEIPT OF PRICE G. BROES VAN DORT & CO. 218 La Salle Street -!- CHICAGO This Coupon and 16 cents will Send to-day to Main office and works There is a whole room devoted to the work of great French architects. M. Chedanne, Architect to the Ministry of Foreign Affairs, shows his remarkable drawings made in connection with his study of the Pantheon at Rome. It was he who upset all the theories concerning the construction of this great dome and who established beyond all peradventure, that his premises were correct. This set of drawings sets before the observer clearly the result of Mr. Chedanne’s in- OUGA CELEBRATED vestigations, and measured by their serv- FINE ART STUDIES ice to the cause of Roman Archaeology are Latest complete illustrated Catalogue, ; ; j ect] 80c, New Flower, Fruit, Figure, Landscape without question the most interesting and Animal Studies—suitable for Oils an ; . : ; : Water Colon. Discounts gloss ta Cate drawings ever shown in this country, con- alogue. : : stituting unquestionably the clue of the _-M.G. PRICE, 357° West 118th St., New York Exhibition. His other drawings of the restoration of a Roman Temple, of the WwW, W. Abbott Decorations of a Roman House and of his Picture Frames and Picture Mats great “Champs Elysee Hotel’ in Paris, \ . Co Al . . m4 24-26 AdamsSt, = Frames Made to Order are other matters of great interest in Teh | Automatic B80 Chicago their several ways. [VIII] Please mention The Sketch Book when writing to advertisers.

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Industrial Art FE. J. ESSIG & CO. M. Duquesne shows a set of two draw- ings being a comparative study of two Itahan Municipal Palaces made while he was a resident of the Academy of France at Rome, which, as samples of draftsman- ship and in their beauty of coloring ably display his talent. M. Lapeyrer shows a series of five drawings of his scheme for a great en- trance boulevard to the city of Bordeaux, which are of great interest as showing that even the great cities of Europe have some- thing left to do in the way of possible improvements and are undertaking them. The large hall at the Academy is filled with the exhibits of the National Society of Mural Painters who are much to be congratulated upon the scope of their ex- hibition. Up to the last moment it was hoped that the Mural Decorations for the Pennsylvania State Capitol would be Please mention The Sketch Book when writing to advertisers. PRECIOUS STONES FOR JEWELRY Cut shows a few styles of cuttings in Matrix Turquoise Cameos, #0 to $60. carabs, $2 to $10; others, per carat, 25c up. Est. 1869 Champlain Building, 126 State Street, Chicago Reference: Prof. O. C. Farrington, Curator Field Columbian Museum THE SKETCH BOOK Arts and Crafts work- ers will find it to their advantage to get our prices on any stock stones or special cut- tings. We have a large, choice stock of Amethyst, Azurite, Amazonite, Beryl, Hy- _ acinth, Lapis Lazuli, Matrix Opal, Mala- chite, Labradorite, Opal, Pearls, Tour- maline all colors, To- paz, etc., andall Birth Stones. Selections of gems sent on approval to ’ parties furnishing ref- erences, All orders executed promptly and in finest workmanship. 37 years in this busi- ness. Send us an order. Reliable Lapidists available, but the authorities at Harris- burg finally decided that they could not leave the building. There is a whole wall given to the work of Mr. John LaFarge, which is made up of the studies for, and of the photographs of, completed work. Mr. E. H. Blashfield has another panel and Mr. William B. Van Ingen another. The center of the room is occupied by a painting for a ceiling by Mr. Karl New- mann of great brilliancy of color, while the room is full of charming panels and studies which speak highly for the great advances in work of this character that are being made in the country. The central rotunda and the gallery adjoining contain the exhibit of the Na- tional Sculpture Society with four great groups from the New York Customs House by Mr. French, a tombstone by Mr. Calder, a model of the doorway of the [1x]

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THE SKETCH BOOK Rare Old Paintings Fine Art Color Prints a Specialty Fine Specimens of Japanese and Chinese W orks of Art Yamanaka & Company 254 Fifth Avenue, New York LONDON OSAKA Oil Paintings and Water Colors aH BOSTON HAIG ETCHINGS GALLERY O’BRIEN~ - chapel at Annapolis by Mr. Ernest Flagg, and a model of the Girard Trust Com- panys new building for the corner of Broad and Chestnut streets by Messrs. McKim, Mead and White and Mr. Evans. The rooms are made more attractive by many plants set in charming vases exhib- ited by Messrs. Henry A. Dreer, Inc., H. W. Moon Company and the Andora Nurseries, while there are certain other [x] He PORTRAIT ORDERS SOLICITED PAINTINGS CLEANED AND RESTORED es & We Have Just Opened Our Special OF Gir d) 208 WABASH AVENUE 4 CHICAGO exhibits of cabinet work by Mr. John Barber, lighting fixtures by the Sterling Bronze Company and other work by the decorative trades, which lend an added interest to the Exhibition. It is to be regretted in fact that there are not more exhibits of this character from the trades at large, as they add greatly to the practical value of an ex- hibition of this educational nature, as Please mention The Sketch Book when writing to advertisers.

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Fine Art THE SKETCH BOOK Lovers of “OLD MASTERS” are always welcome at The Ehrich Galleries 463-465 Fifth Avenue, New York City Opposite the new Library: of the Antique English, Dutch, French, Italian and Spanish Schools constantly on exhibition Rare and Beautiful Examples F. W. Kaldenberg’s Sons Manufacturers of Useful and Artistic Specialties in Te A Wilmurt’s Sons ESTABLISHED 1848 MAKERS OF FINE GOLD Picture Frames PAINTINGS CLEANED AND RE- STORED. HANGING AND ARRANG- ING GALLERIES A SPECIALTY. 25 East 15th St., ona"Gnion Square NEW YORK Ivory, Pearl, Amber, Meerschaum, Tortoise Shell, Wood and : Metals. SHEET IVORY FOR MINIATURE PAINTING These various materials lend themselves to a mullti- tude of objects required more or less by every one. You can hardly i imagine anything that we do not have, or cannot maxe, from these materials; and if you will visit our studio, you will be pleased to find that which you could never imagine or dream of, especially such things of our own production as well as artistic work of all nations, ancient and modern ADDRESS F,. W. KALDENBERG’S SONS 95 Fifth Avenue £oi"g, New York Sypher & Co. WORKS OF ART ANTIQUE TAPESTRIES Authenticated PD AINTINGS Van Dyke Constable Rembrandt Ribera Lawrence Bassano Guido Rene Wilson AND OTHER Kneller Rubens MASTERS Mostly heirlooms of unusual distinction Will soon be shown to seriously interested persons, in a well-appointed private gallery in New York City. For further particulars, address (by letter only) MISS ANNETTE SCHENCK, care of the National Arts Club, Gramercy Park, New York. 2-4 West 29th St., New York BRAUN’S CARBON PRINTS LARGEST COLLECTION IN THE WORLD From Ancient and Modern Masterpieces OF PAINTINGS, ARCHITECTURE AND SCULPTURES Framing in the most beautiful designs Over 100,000 Reproductions of original works of art in the leading Public and Private Art Galleries of Europe, Extract from illustrated catalogue free BRAUN, CLEMENT 6 CO., 256 Fifth Avenue, Beivssn 23: New York Please mention The Sketch Book when writing to advertisers. [X1]

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THE SKETCH BOOK Fine Art SEASON 1906 DURING NOVEMBER OPENED AT THE GAL- LERIES OF HENRY REINHART Fine Arts Building 203-207 Michigan Blvd. CHICAGO Wholesale - - Retail ea Russian Art Store copeeace Importers and Antique Collectors Every Variety and Rare Pieces of Russian Brasses, Copper and Silver in UNIQUE DESIGNS | Laces and Artistic Novelties M. R. Polakoff & Company 2132 Michigan Ave. CHICAGO BOSTON NEW YORK J.E. BARR GC William Schaus Invites attention to his carefully Selected Importation of PAINTINGS and W ater Colors of various schools Line and Mezzotint Engravings Many interesting subjects Suttable for Gifts will be found among this collection. 415 FIFTH AVENUE Schaus Building NEW YORK ANTIQUES Furniture Reproduced to Order, Cabinet Maker and Designer F. VISCONTI 2209 Michigan Avenue, CHICAGO A Red Chalk Drawing A Beautiful W oman that has won fame for A Young Artist We will send you post-paid for i] fifty cents a fac-simile of Otto ‘/ Schneider's portrait of his favorite “- model done in red chalk, printed on Japan paper 12 1-2 by 18 inches, ready for framing. A beautiful study showing the method of this famous illustrator and painter. Address THE SKETCH BOOK Art Dept., Chicago. IMPORTERS & DEALERS Detee with Porter & Gan) Late with Henry T. Coates & Co. Have in stock a large and exceedingly fine collection of the work of the masters and old-time artists, in line, stipple and mezzotint engraving and etching OLD ENGLISH COLOUR PRINTS HISTORICAL SUBJECTS AUTOGRAPH LETTERS BARTOLOZZI AND HIS SCHOOL Plain and in Colo CHOICE AMERICANA NAPOLEONIANA CHOICE AND RARE BOOKS Special Lists Mailed on Application ARDILIS FIC! PRARIARG: ACS PeECIAL IT 2 1124 Walnut Street | XII] Dicicdelohss Piease mention The Sketch Book when writing to advertisers.

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| Fine Art THE SKETCH BOOK An Appreciation \, Asked to express what seems to me the chief significance of the new Cowan Gal- leries, I should say it is that they are the best expression to date of Chicago's artistic consciousness. Such a consciousness must exist long in any community before finding adequate expression 1n concrete forms. Those of sufficient oes to anticipate such tendencies have op hesied for long that Chicago was to become the cultural, as it is the material, center of America. I guess the advance guard of Chicago s destiny has arrived, i in the Cowan Galleries. Proof that they are a part of destiny lies 1 In the fact that one soon accepts them, amazing as they are on first sight, as not incongruous after all. One's first expression is a long breath, naturally, but it is a breath of relief, and one settles down then to enjoy them, and believe in them— to accept them forever thereafter as a natural and inevitable portion of one's own and the city” ) destiny. Nothing 1 is of slower growth than the aesthetic oe of a Gm a nation ora city. Ten years ago~ even five years ago—th e Cowan erles would have been impossible 1 in Chicago. Today they are here, and they seem to fit, which speaks well for Chicago. —James Howard Kehler. We invite the ublic to use the Cowan Galleries freely, as they would any p public 1 institution, regardless of intent to purchase. Students, collectors and others inteeeead 3 in historical furniture and decora~ tion will find the galleries, with their series of correct specimen rooms in all the best periods, of especial interest and value. W. K. Cowan Gy Co. MANUFACTURERS IMPORTERS RETAILERS FURNITURE DECORATION ART OBJECTS Retail Store and ‘“*The Cowan Galleries” 203-207 Michigan Boulevard, Chicago Please mention The Sketch Book when writing to advertisers. [x11]

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THE SKETCH BOOK Art Material Drawings. Made Udith HIGGINS’ AMERICAN DRAWING INKS (Blacks and Colors) Have an excellence peculiarly their own. The best results are only produced by the best methods and means—the best results in Draft- ing, both mechanical and artistic, can only be attained by using the best Drawing Inks— HIGGINS’ DRAWING INKS (Send for color card showing actual inks) At dealers in Artists’ Materials and Stationery Bottles prepaid by mail, 35 cents each, or circulars free from Chas. M. Higgins & Co., Mfrs. New York—Chicago—London Main Office, 271 Ninth St. Sar ee Factory, 240-244 Bighth St. { N.Y.,U.S.A, WM. H. POWELL Fine Art Galery, 983 6th Ave., New York ARTISTS’ MATERIALS New York Agent ror LEFEBVRE-FOINET of Paris Importer of EDOUARD’S & BLOCKX’S HAND- GROUND, PERMANENT French Oil Colors, BEST IN THE WORLD, French Canvas and Brushes. Mail § Orders have prompt attention. PICTURE FRAMING A SPECIALTY MR.WILLIAM M. CHASE Writes us as follows: ‘Tam better pleased with your colors, after a thorough test, than any other colors I have used.” Write for booklet “Ullman’s Manual of Artists) Colors” SIGMUND ULLMAN CO. 146th St. and Park Ave. NEW YORK [XIv] QP YROPEN ») Leading instrument in Pyrography. Heated by GAS NNo benzine or bellows. All Art Material Dealers; or postpaid for $1.00 from Wiseman Mfg. Co., 140 W. 23rd Street New York Mordaunted Dye Fas color Compounds Vegetable Dyes put up in small bulk ready for use. Applicable to Wool, Raw Silk, Ribbons, Feathers, Leather, to Basketry, Staining Wainscots and other mural decorations. These Dye Compounds are’ intended to meet the demands for pure artistic Vegetable Dyes at less ex- pense and trouble than by the old processes. Address CHARLOTTE PENDLETON — The Red House -- Laurel, Prince George Co., Maryland Patent applied for —Small Pieces by Mail— Tanagra Figurines Genuine Koro-Bronze and Plastic Composition Also Busts, Reliefs and Statuettes. Write for Free Illustrated Bulletin. American Art-Cast Co. 20 Eest 23d Street, NEW YORK Please mention The Sketch Book when writing to advertisers.

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Art Material THE: SKETCH BooK JOHN W. MASURY R. SON Manufacturers of the Highest Grades of Painters’ Colors Ground in Oil and Water, Wood Stains, Palest House and Cabinet | Varnishes, and READY-MADE HOUSE PAINTS, also of Le Mesurier Tube Colors @ When originating this now popular line of colors, we conceived the idea of furnishing QUANTITY and QUALITY. How well we succeeded is best proved by the fact that since then nearly all manufacturers have adopted OUR SIZES, and that our colors to-day rank FIRST in QUALITY, TONE, FINENESS and PURITY. @ We guarantee them to possess all desirable features found in domestic or foreign manufac- tures and to excel them in many essential qualities, such as—IMPALPABLE FINENESS, FREEDOM from LINT and other vexatious substances, and positive UNIFORMITY of STRENGTH and SHADE. Endorsed by the following and other Artists: WM. VERPLANCK ern) J. F. CROPSEY, N. A., Cc. C. GRISWOLD, NWA, WM. L SONNTAG, N.A WORDSWORTH THOMPSON, N. A. EDGAR J BISSELL, ELLIOTT DAINGERFIELD, KATHERINE M. COHEN, AM, ARKER NEWT e THOMAS W. SEILELDS. For Sale by Dealers Everywhere. NEW YORK tending to put before the public the ex- ecution of the designs made by the artists. Such work as there is, however, is of a high character and gives promise of great things in store for the American workers in these lines. The end of the gallery and the end room are. devoted to Architectural School work properly so called, the designs in plan. and elevation for all manner of prob- lems which have been proposed and stud- ied in the various schools of the country during the past year. It is an exhibit wholly creditable to the students whose work is shown and will be very interest- ing to their fellows and to the public, as showing what is done in the schools of architecture in this country today. Opportunities for study of this nature were not to be found in this country ten years ago. It is owing to the influence of the Ecole des Beaux Arts in Paris and many of our younger architects who have 176 Randolph Street, CHICAGO OOD ART is a ss of skill and the right materials. If you have the skill we can supply the materials; Devoe Art materials: the right kind. For the artist in Oils Water Colors China Painting Black and White All sorts of materials and supplies— Devoe quality. Send for catalogue of these goods. Address Department G. Devoe & Raynolds Co. | Fulton and Williams Streets, Chicago New York 1214 Grand Avenue, Kansas City Please mention The Sketch Book when writing to advertisers. [xv]

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THE SKETCH BOOK and safety will be regarded. studied abroad and brought home with them the modern ideas of instruction in architecture in vogue in France, that these courses are to be found today. It is pri- marily to the initiative of the Beaux Arts Society of New York and to Frenchmen like Despradelles, of the Boston Institute of Technology; Cret, of the University of Pennsylvania, and to Prevost Hebrard and to the clear sighted policy of the man- agement of the architectural departments of our colleges that the country is in- debted for the great progress made in the instruction now to be had. On the whole, the societies connected with this Exhibition are greatly to be congratulated upon the result obtained. It is an effort to make it possible for the public of our city to be enlightened on ARE YOU GOING ABROAD NEXT YEAR? Plan for it Now A Foreign Travel Class for Art study is now being formed under the personal guidance of Mr. James William Pattison Painter and Lecturer at the Art Institute, Chicago. The Art Galleries, Museums, Antique Shops, Guild Halls and Potteries of Holland, London, Paris and environs will be visited and studied in a most delightful way, combining _ | study, recreation and shopping tours for Collectors, Students and Teachers. Parents wishing to send their daughters abroad for the benefit of foreign travel may do so in complete security as every requirement as to chaperons, personal comfort Satisfactory references required from persons wishing to make application. tickets at a very favorable rate may now be secured, good until used. Address, FOREIGN TRAVEL CLASS 412 FINE ARTS BUILDING, CHICAGO Rockwood Pottery Extension many subjects which have only recently become of importance to us, and it is to be greatly hoped that the public will take advantage of this opportunity to see what the architects and artists of the country _ are doing for the country. The Macbeth Galleries, No. 450 Fifth avenue, New York, announces a special exhibition of American paintings. Paint- ings to be shown at this exhibition in- clude examples of William Morris Hunt, George Fuller, Alexander H. Wyant, James McNeil Whistler and Homer D. Martin. Charles H. Davis, Arthur B. Davies, Henry W. Ranger and J. Fran- cis Murphy, William Sartain, and Je- rome Myers will be shown. It will be open for two weeks. {XxvI] Please mention The Sketch Book when writing to advertisers.

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Sie

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PORTRAIT OF LOUIS BETTS Painted by William. M. Chase

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THE SKETCH BOOK Volume VI DECEMBER 1906 Number 4 Louis Betts—Painter By James William Pattison Author of ‘‘ Painters Since Leonardo ’”’ IR Q HEN “COLTS GROW VW horses and boys grow men” we are sometimes astonished to see what admirable creatures they have developed into. There are so many smart young people growing up around us who promise to make fine men, but for some reason never make good, that we com- mence to doubt, falling back on the belief in the unlimited capacity for the development of the great commonplace. But it is a dull day that has no ray of sunshine and a dull line of art students without one genius. Rarity is such an unusual thing that the conspicuous ex- ceptionals invariably find a crowd to make background for them. Did you ever ob- serve that the greater number of pictures in any gallery are but backgrounds for the better exhibition of the rare works? There can be but four wall centers to any picture gallery, each one being occupied by a choice work, which is like the belle of the evening depending on the assem- bled crowd of lesser beauties for a proper setting, a diamond in silver. I have known Mr. Louis Betts these many years, known him as “clever” and “promising,” but now discover that he is occupying a cen- ter of attention, and the crowd which forms his background is certain to grow larger year by year. I used the word CIS 3 Co “genius” just now—advisedly. It needs an explanation. What is a genius? How does he differ from a clever man? He must have the ability to see, comprehend and utilize some aspects of nature that most artists do not grasp. Also, he must do things that we—who are supposed to know all about art—con not account for. Why do we call Velasquez a genius? Be- cause he secures expressions, personali- ties, in his sitters which other artists, however hard they try, cannot find, do not express, and which we—who are sup- — posed to know—can not account for. Of course, a genius may have many other ex- ceptional abilities, but that is outside of our present discussion. In the recent works of Mr. Betts I see this peculiar | ability manifested, and he has developed it very rapidly. Some geniuses are clever, some have very little of that glibness which we call by that name. Some are superb techni- cians, some handle paint bunglingly. The manner of laying paint by some geniuses is so bad that we wonder why we love their works: the divine spirit being there in spite of so much clumsiness. However, the well trained painter, if he be a gen- ius, can carry his results a long way far- ther than the untamed dauber of equal unaccountableness. Well directed art in- [171]

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2 Louis Betts—Painter PORTRAIT OF MISS ALICE HARTT- By Louis Betts struction is a real good thing which in- jures no genius. ‘The time and labor ex- pended in securing a fine technical train- ing is never wasted on a genius, nor can it harm him. Thus I am disposed to deny the often repeated declaration that art schools are harmful to geniuses. A well-known artist of New York said to me recently, as we stood in front of some of Betts’ portraits, “I wish that he did not handle his paint so much in the man- ner of Velasquez.” JI asked him, “Do you mean that you would like it better had he invented his own technique?” To his affirmative answer I replied, “He is young; perhaps he will do it his own way presently. Do you find no originality in it?” He hastened to declare that he found it surprisingly original, excepting the manner of laying paint. This illus- trates how little artists actually count fine technique as one of the essentials of good work. It also proved that Betts’ tech- nique, being like that of certain great painters, was what we count as superior. But good technique is an evidence of nothing more than native cleverness aided by training, and it has never made a su- perb artist, although it does indicate an inheritance of peculiar adilities which it is very convenient to possess. — When a certain celebrated French writ- er was asked to subscribe to a monument to the elder Dumas, he shrugged his shoulders and said, “Dumas! What has he ever done for us, except to give us Du- mas the younger?” So the greatest claim upon us of the father of “all the Bettses” is the fact that he has given to us the sub- ject of this discussion—though he is a man of no small talent himself. Artistic ducats were not numerous in the days PORTRAIT OF MISS GIOVANNI TURNES By Louis Betts

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ORT RRR RY em te PORTRAIT OF JAMES WILLIAM PATTISON (Courtesy of O’Brien Art Galleries) By Louis Betts

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174 Louis Betts—Painter PORTRAIT. OF “MRS. K.” when Louis was still a youth and the boy was early thrown on his own resources, gaining a livelihood by the exercise of the talent and the rudimentary training coming from his father. It is the usual story of the painted tea trays or anything else that could bring in a few dollars. There were paintings of still life, game and such common things. The execution was clever but “tight,” severely exact and lacking in elasticity. However, the strik- By Louis Betts ing naturalism in these early efforts saved them and they found purchasers at small prices. Is not this the story of multitudin- ous artists? Did not Murillo, and, indeed, the great Velasquez himself, commence in this way? Book illustrations, posters, prints for advertising purposes and all that line of commercial work came in turn and called for the painting of ani- mals and the human figure. It is not a bad school to be brought up in—that of

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By James William Pattison 175 practical work—though it does notsgong It only cultivates duce to greatness. cleverness. The first time that I ever took notice of Louis Betts’ work was on the occasion of his making the illustra- tions for a romance based on American Indian life. A few odd pages of the ro- mance—which was still only in the au- thor’s head—and one of the illustrations (nothing more being made), when sub- mitted to a publisher, secured immediate attention and an order for the entire work. How Betts did perspire during those hot summer days, painting in oils large designs for this book, and how PORTRAIT OF LITTLE MISS TURNES By Louis Betts steadily he worked! If I mistake not, the little fellow who posed nude for the In- dian boy-hero of the romance, was the first nude figure which the young artist had ever painted. This book was a suc- cess, bringing its illustrator more money than he had ever handled in his life at one time. ‘Then it happened as it so many times does, the young man went to New York, where work as an illustrator PORTRAIT OF MRS. A. RUDIGER By Louis Betts in various lines at once became abundant. People began to notice him: not the least useful friend being William.M. Chase, the painter. Now Mr. Chase-is-not alone a fine artist, he is -by nature a teacher, and has done a world of ‘good to America by influencing young students. It was he (in company with other men just home from study in European: studios) who founded the Art Students’ League, that independent company * sof” ‘self-governing students which has so signally revolution- ized the methods of art-study in our land. Mr. Chase has a remarkable personality and his influence over his pupils is enor- mous. Following his period of influence in the “League” he created a school of his own (which is still one of the most important in the eastern metropolis) and he spends a day or more of each week in conducting a class in the Academy of the

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PORTRAIT OF HERBERT S. STONE By Louis Betts

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By James William Pattison 177 Fine Arts in Philadelphia. At the close of each season there is a prize given in this class; the most striven for of any in the country. PORTRAIT OF MR. SHEELER By Louis Betts this combination of circum- stances which brought about a turn in the life work of Louis Betts. He escaped the life of a commercial grinder. Had he signed the contract (already drawn up) which would have tied him for a few years (the most sensitive of his life) the chariot wheels of one of the oldest and largest publishing houses in New York, I doubt not that his mark there would have been a strong one. But in portraiture the opportunities are infinitely wider; the portrait painter has a greater opportunity for the revelation of genius than almost any other sort of artist. Chase caught Betts and sent him to Philadelphia, to the Academy. In due course he won the grand prize and with this in hand started for Europe. A delightful enthusiasm is one of the It was valuable assets of William M. Chase, though he has many more. As Chase makes annual pilgrimages to Europe, he soon encountered his protegé on the other side, and the pupil became a companion. As Chase is looked upon as an excep- tionally fine artist by his European fel- low painters, he was able to introduce his young friend to all the powerful and lead- ing artists of several countries; and Betts PORTRAIT OF DR. ALLPORT By Louis Betts could of himself make a score in this new field of operations. Betts tarried in Haarlem (Holland) to study Frans Hals. It was exactly in his line, this sort of work; dashing, firm han- dling being his natural manner of laying paint. Also, he had secured such a knowledge of anatomy and the planes of the human face that the manner of Hals was natural to him. Most students in un- dertaking to copy the heads of Hals are obliged to search tentatively and anx- iously for the tones and planes of the great master. With Betts there was no

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178 Louis Betts—Painter timidity. He could carry off a striking similitude of a head by Hals by one day’s work and it astonished the habitues of the museum to see this young man so fa- cile and correct. People gather around his easel to watch him paint, and his fame was carried to the important man of Haarlem, the one whose patriotism, fore- thought and money had made it possible for this celebrated museum to exist—Herr Kroll. This man of understanding and experience at once gave Betts an order for his portrait, which naturally led to other portrait orders not a little good VIEW FROM By Louis Betts LAMBETH BRIDGE, THAMES, LONDON work. In addition to this, the copies of Hals’ pictures found ready sale at un- usual prices. It is not common for a young art student in Europe to find his bread buttered so readily, but Betts has always found patrons. From Holland, through fees, the road led to Spain and to the Prado, where the works of the great Velasquez abound, and the story told of Haarlem re- peated itself in the new place of labor. Introductions to all the noted artists were of course in order. Judging from Betts’ graphic stories of the personality and the manner of painting of the im- portant Spanish artists, Sorolla and Zu- loaga, he must have become very well ac- quainted with them, and such men do not take any trouble with young students of little worth. Hither his personality or his talent made an impression; doubtless both of these, because he has them both. It is almost unnecessary to state that or- ders for portraits came to Betts immedi- ately and the prices demanded and paid were not at all modest. The list of pat- rons includes men and women of the diplomatic circle and the environment of the court. His success was so amine because of the ability to secure not alone a like- ness, but to observe keenly the fleeting and peculiar expressions of his sitters. This is the genius element in an artist, which may be developed indefinitely, leading to the highest possible standards of excel- lence. With Mr. Betts we cannot predict the limit of his future achievement, though the tendency is manifest: the re- - sults must be determined by his character and the growth of his mentality as the years give him opportunity to build them up. Also, he is swift in execution, sure in brush stroke, doing his best when in- tensely attentive to the work in hand; his sitters are not wearied by too long- drawn-out posings. I have often seen paintings by Sargent or Zorn which seemed to have been swept in with swift- ness of brush and intensity of mentality, the startling sweeps of the paint stroke taking the breath away. ‘Their sitters tell us that they paint with wonderful di- rectness, ceasing immediately when the result answers their expectations. If, at the sitting’s end, they are not entirely satisfied, the work is removed with the palette knife and the same sort of swift

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PORTRAIT OF “MISS GRACE.” By Louis Betts

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180 Louis Betts—Painter effort put forth the next day, so on until the last master-painting is the one we wonder at. It is not painting done over painting with anxious care, but an entire- ly fresh work, done on the ghost of the PORTRAIT OF MRS. MILTON VAN DER SLICE By Louis Betts previous one, never but the one and that the noble finality. It was the last. hour _ which remained; all previous hours eras- ed. What we see is the accumulated in- tensity of many hours, all expressed in one, the last. Mr. Betts follows nearly the same method. Frans Hals seems to have been one of the inventors of it, Velasquez another inventor; not produc- ing the same results but equally intense results. In the case of the _ por- trait which I saw Mr. Betts _ pro- duce, an excellent likeness, showing the man’s character strangely, the head was painted but once, swiftly, surely touched with superb brushing. The hand and glove were done in one posing, some minutes over an hour, each un- troubled stroke deliberately studied, each lean cord and muscle swept into its place unerringly; no blending or muddling to destroy the brilliant coloring of the flesh. All these things are pretty rare. I am not saying that it is the only way to paint, that artists who repaint on yester- day’s or last week’s effort are less talented or make less good portraits; but I do say that this manner (if one can accom- plish it) is a brilliant one and that the artist by means of it will probably secure more of the sitter’s vital personality and less of his tired feeling. I recall a sump- tuous silk dress, swiftly painted, gleaming and of beautiful color; a white costume with much lace, which was vapory, pene- trable in the folds, luscious and (to wo- men) entirely heart rending. The dresses were not allowed to get tired either. Betts is not limited to one scheme of color or one sort of expression. There is a little girl’s figure; the whole canvas reduced to a tonality, flat in treatment like a wall decoration, decorative but not much mod- eled. The child sat in an atmosphere of ripe tones, just enough mysterious and — undefined for artistic excellence; and it was so childlike and innocent! If I mis- take not, Betts is destined to keep very busy—just as he has been for many months now previous to this writing. Louis Betts was born in Little Rock, Arkansas, October 5, 1873, but much of his life has been spent in Chicago.

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ukmBueIg yueIy Aq s8uryoiq

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“MOTHERHOOD” By Bessie Potter Vonnoh Copyrighted. Courtesy of the Artist and the Metropolitan Museum

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Collection of Bronzes in the Metropolitan Museum By Clarence Hoblitzell ie ACTIONS OF THE TRUS- tees of the Metropolitan Mu- seum during recent years rival in importance and significance, their ap- proval of the recommendation of the com- mittee on sculpture, whereby a sum of money has been set aside for the purchase of small bronzes, the work of contempo- — rary sculptors. The recognition of men and women—and let it be noted that women have conspicuously demonstrated their capabilities in the direction of sculpture —by the purchase of their work, is the most tangible and incontrovertible evi- dence of encouragement. An artist may well feel gratified to have a great mu- seum like the Metropolitan seek him out and select one or more of his composi- tions for a permanent and honorable po- sition in its galleries. The stimulus to his genius is immediate, and to his joy in his work is added the revivifying pride of seeing his work understood and appre- ciated. It is not the intention of the museum to confine itself to American sculptors. From time to time will be obtained ex- amples of the work being done by con- temporary men of various countries. The first purchases were in the main Ameri- can, the second English; France, Ger- many, Italy, Sweden, Belgium, China and Japan may follow. In September, the first exhibition of the bronzes selected and purchased by the museum, was opened to the public. Some fifteen or sixteen pieces, all by American sculptors, comprised the collec- tion. In October was shown the second group of bronzes purchased. ‘These were all by Englishmen, and formed a notable and promising addition to the collection. The American sculptors represented are Gutzon Borglum, Janet Scudder, Bessie Potter Vonnoh, Anna Vaughn Hyatt, FROG FOUNTAIN “By Janet: Scudder Courtesy of the Sculptor and the Metropolitan Museum Frederick G. Roth and Eli Harvey, while bronzes by Alexander P. Proctor, Herman A. MacNeil and the late Paul Ange Noc- quet, already purchased are not yet on exhibition. The English work selected and on exhibition is by the late Lord [183]

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184 Collection of Bronzes—Metropolitan Museum Borglum, is a tremendous breadth of in- terest, and the animal studies of Roth, Harvey and Hyatt show an equal diver- sity of motive and treatment. Apart from the significance of the purchase of these bronzes by the Metropolitan museum, the collection cannot fail to establish the sig- nal originality of the American artists. The idea of making small household ornaments, things-of something more than forms of abstract beauty, is not a new one. The figures from Tanagra, and the small bronzes of the Greeks and Ro- mans, pre-eminently perfect and beauti- PERSEUS . By Alfred Gilbert, R. A. Courtesy of the Metropolitan Mu'seun. Leighton, P. R. A., Thomas Brock, R. A., Alfred Gilbert, R. A., Alfred Drury, A. R. A., and E. Winslow Ford. It is safe to declare that in no branch of art today does the American man strike a more independent note than when he presents his ideals to the world in the form of sculpture. This seems particu- larly true when studying these bronzes. While the collection is a small one both in the size of the individual pieces and viewed as a whole, the value of the ex- amples and the importance of the move- ment leading to their acquisition is im- measurable. From the lovely and peaceful composi- tions of Bessie Potter Vonnoh to the sin- aS = : ; “THE SLUGGARD” By the late Lord Leighton, P. R.A. cularly majestic “Ruskin” of Gutzon Courtesy of the Metropolitan Museum.

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By Charé nce’ Hob litzel! JOHN RUSKIN By Gutzon Borglum Copyrighted. Courtesy of the Sculptor and the Metropolitan Museum. ful in their modeling, may never be equaled. It is in the point of view, the interpretation of art and life, that the originality of the modern sculptor can re- main unquestioned even if the vehicle of his expression date from antiquity. Each one of the bronzes under discussion pre- sents this quality, of portraying some- thing as the artist himself has seen it. Originality, if not the soul of beauty, is at least the soul of greatness in art, and it is always the spark to the gunpowder of our interest, when mere beauty leaves us untouched or holds us captive for but a measured space of time. And in this sense the collection is instinct with vi- tality. It is difficult to treat the subject of Gutzon Borglum’s “Ruskin” with re- straint, as, although the seated figure is small, the composition but fourteen inches high, it must be accorded its due of be- ing one of the greatest portraits in mod- ern sculpture. The proportions of the figure and the great naturalness of its at- titude are nobly accentuated by the char- acteristic hands, the right one clasping a book, and by the magnificent head, ma- jestic in expression and beautiful in out- line. It were easy to imagine the sense of delight and satisfaction the lovers of Ruskin will feel when beholding this work. Bessie Potter Vonnoh, in contrast to Borglum’s solemnity, shows the sweet loveliness of womanhood. A “Girl Dan- cing’—graceful and youthful figure, one foot extended, the head bent forward, her long skirts held in either hand, has a certain piquant charm, while “The Young Mother,” a seated figure, shows perhaps the artist at her best. “His First Journey,” the figure of a baby boy crawl- ing on the floor, is another extremely

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186 Collection of Bronzes—Metropolitan Museum clever piece by Mrs. Vonnoh, the feeling for form and texture of the flesh being finely rendered, and the idea of the com- position perfectly conveyed. One _ in- stantly grasps the intention as well as the charm of-its conception. The two animal groups of Anna Vaughn Hyatt, “Winter” (horses) and “Tigers Watching” are astonishingly vir- By Thomas Brock, R. A. Courtesy of the Metropolitan Museum “EVE” ile, and represent two entirely different yet equally interesting motives. In the “Winter,” the feeling of chill in the air ‘is well suggested by the figures of the two horses leaning closely together. The SSS HIS FIRST JOURNEY Copyrighted By. Bessie Potter Vonnoh Courtesy of Artist and Metropolitan Museum - modeling of | the manes and tails and the slightly dejected and drooping heads, is masterly in its force and directness of ut- terance. In the “Tigers Watching” quite another quality of interest is felt. On the edge of a cliff or ravine, two tigers are crouched, their lithe bodies stretched out, tensely rigid. The immediate impression conveyed is one of suspense. In contra- distinction to the first group, this one produces a dramatic unrest in one’s mind, a question as to what is to follow, which is precisely how such a situation would affect one. | In the seven examples of Frederick G. Roth’s work are seen a wolf-hound, polar bear, two elephants, a bear and two pigs, the five last of which while small, are clever and amusing. The largest bronze in the American group is by Janet Scudder. It is called “Frog Fountain” and represents an elvish, naked little boy standing on one foot, the other extended, his arms outstretched, as though he were skipping or dancing to some spritely melody. His head is bent forward and twined with lily buds and stems, while he looks at three frogs crouched about the circular plate on which he stands. Water spurts from the open mouths of the frogs. The grace and naive charm of this piece are unmistake- able, the action extremely spirited, and the

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188 Collection of Bronzes—Metropolitan Museum modeling full, firm and assured in touch. Eli Harvey’s one example is a group of a lioness and cub, called ‘‘Maternal Car- ess,” showing great breadth of treatment and bigness of feeling. “Fate”. (puma) and “Dog with Bone,” by Proctor, as well as Nocquet’s fine work, “Man Weeping” and MacNeil’s, “The Primitive Chant” THE AGE OF INNOCENCE By Alfred Drury, A. R. A. Courtesy of the Metropolitan Museum and “The Sun Vow,” have not yet been received. | Space prevents an extended mention of the English pieces. Brock’s “Eve” is a finely studied figure, the largest bronze in the collection. Lord Leighton’s “Sluggard” is very beautiful and charac- teristic in drawing. Alfred Drury’s “Age of Innocence” is especially lovely, the idea TRAGEDY AND COMEDY By Alfred Gilbert, R. A. Courtesy of the Metropolitan Museum. of unconscious serenity superbly caught together with a certain artless pathos of expression. Gilbert's “Perseus” and “Tragedy and Comedy” are delightfun, modeled, indeed in their especial quality they are almost of the Cinque Cento. It is to be regretted that the photo- graphs in most instances proved very poor, and give but an inadequate suggestion of the bronzes. This is especially true of the one of Drury’s: “Age of Innocence,” which is used only because another could not be procured in time for this article. The same is true of Janet Scudder’s “Frog Fountain,’ the photograph of which could not be much worse. | a

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Silhouettes— An Interesting Collection By Magda Heuermann e S Lo ‘A AG ) SILHOUETTES CUT BY FRAU EMILIE MENTZEL, NEE CRAMER, 1795 G OMING INTO POSSESSION of a beautiful little collection of sil- houettes—by the last will of a dear friend—revived memories of my last trip to Versailles, and being anxious al- ways to have every one enjoy my posses- sions with me, has given me the idea of bringing to notice a few points régarding shadow pictures. The fétes and soirées élégantes that were wont to take place at the frivolous French courts, the light-hearted, conse- quently light-headed, royalty, the nobility and lions and lionesses of the latter part of the eighteenth century, are all so closely allied to shadow pictures now called sil- houettes, that it is impossibe to think of one and not the other. So while tramp- ing through and around Versailles, all the famous characters of the day came to my vision. It also seemed to me as if the gaily-robed shepherds and _ shepherdesses of days gone by had gathered on the lawns *mongst the statuary and beautiful ave- nues of tremendous trees; the fountains, too, were playing; the same stone benches Magda Heuermann Collection and little temples that Marie Antoinette had built are well preserved, and the gar- dens she remodeled after English designs are being kept up according to her ideas. While strolling through the Petit Trianon our imagination was sometimes vivid enough not only to see Marie Antoinette, but also to speak to her—but this was only a dream, the queen was no longer there. Just so the Watteau paintings take one right back to this epoch when lawn fétes and dances, powdered wigs and floral bro- cades were in vogue, and society was too, too awfully frivolous. This is the period, the time of the Rococo, when silhouettes reigned supreme. Watteau, the famous master of the pas- toral scenes of the day, was at the begin- ning of this epoch; Boucher, the coarse and sensual painter, at the close of it; and both painters have left to the world - many a canvas picturing the scenes and way of living of that day. To write the history or evolution of the silhouette necessitates going back thou- [189

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1909 Silhouettes—An Interesting Collection FAMILY PORTRAITS IN SILHOUETTE Cut by Macey, London, 1820 __ sands of years, and, though the name is comparatively new, the art is ancient, be- ing used thousands of years ago by the Egyptians and Assyrians as same eoman for their pottery. If the legend that was handed down to us by Pliny can be relied upon, it was love —love pure and simple, that originated this art, and more likely, it was love that preserved it for us, as well. So love, you see, has a great. deal to account for in this world. Was it not Korinthia, the daughter of the potter, who, when her lover was about to depart, drew an outline of his profile on the wall and preserved it there as a keep-sake ? Today, of course, we would simply ask him to go to the best photographer, have half a dozen or more sittings and let us choose from these, and in case we were not satisfied, ask him to go back for more sittings. Not so, Korinthia; it was her own, her very own, she painted it with her whole heart and soul, to remain hers for always. Owned by G. M. Peale, Joliet, Ill. Though her keep-sake could not be put into a locket, she could steal away from her friends to take a long, long gaze at the one who had departed—perhaps for years, perhaps never to return. ‘There it was on the wall, open to criticism or inspection. But all treated her devotion with the greatest of reverence. So this, so far as I have been able to trace, was the beginning of the shadow picture. This was about six hundred years before Christ and yet I think that I can safely state that this, the potter’s daughter, was not the first one to have tried it. About two thousand five hundred years after Korinthia made this silhouette, for silhouette is what we now call them, these interesting little portraits came into vogue, during the time of the powdered wig, the beauty-patch, the buckled shoe, in short, the time of the Rococo, com- monly called Louis XV’s period. This period was certainly just as if made to suit the cutting of the silhouette (some are cut and others are painted).

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By..MaedaisiHeuerm ann The wig, the towering coiffeur, the full frills, and rich neck ruches, all lent a most charming outline to the beautiful little pictures. Not only were portrait busts cut, as you will readily see by the accompanying il- lustrations, but whole family groups with all accessories as well, hunting scenes, and scenes from the middle ages, the latter especially for the amusement of the chil- dren. Did you ask how and where the term silhouette originated? Through the efforts of a man by the name of Etienne de Sil- houette, born in Paris in 1709, and a social reformer. _ Owing to the wasteful, gay and im- moral life that was being led at the courts of France, M. Etienne de Sil- houette, then minister to Louis XV, took it upon himself to improve these deplor- able social conditions, to restore the more simple life which he deemed necessary, expecting thereby to replenish the purse of IQI the government, which was being drained to the bottom—but did not and could not succeed. So the consequence was that everything that required improvement or betterment, or on the other hand, anything pertaining to economics, because of Sil- HEAD OF HERMES ON A VASE FOUND IN ATHENS houette the economist, was called sil- houettes. So the little pictures we today term silhouettes, being an economy over

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io2 Silhouettes“ An Interesting Collection MR. WALTER BURKE AND FAMILY, EARLY SETTLER IN MILWAUKEE, WIS.. miniature portraits, they were called by his name. ; The lawless way in which the money was being squandered, not only at court, but in the salons of the lions and lion- esses of the day, as well, was beyond de- scription, caused the peasantry to endure absolute poverty—and yet, Silhouette was powerless, because society insisted upon doing as it had always been accustomed to do. Royalty had but one point in view— gaiety—and never dreamed of giving up its immoral frivolous way of living, so Silhouette’s idea of cutting down expenses for the benefit of the suffering, was simply sneered at, and passed over. Silhouette was looked upon by the French court as the personification of beggary and poverty, and his efforts to improve conditions were wrecked and he was the laughing stock of all Paris. In spite of the contempt heaped upon these little shadow pictures at the time, Silhouette cut about fifty years ago. they came out victorious, and we, who are fortunate enough to possess one or more good silhouettes are to be envied. The success of the silhouette was at once established, since it offered, especially to the middle classes, an opportunity of having portraits at a comparatively small expense. Few were situated so they could have an oil-painting, or a miniature, the latter being the higher in price at that time. So the silhouette, which was not trying to represent more than it could, was really the means of our having por- traits of men and women that otherwise would have been lost to the world. Many an old autograph album contains by the side of a sweet and fitting verse, -a valuable silhouette, cut by the hand of a master.. Inasmuch as it was but seldom that these little portraits were signed, I deem myself doubly fortunate to have in my collection at least seven with signatures

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By Magda Heuermann PORTRAIT OF By Herself FRAU EMILIE MENTZEL nee CRAMER Hirschberg, Germany, 1795 done in Hirschberg, Germany, in 1795 by Emilie Cramer, presented to me by her great-grandson. She is the young lady who appears in our illustrations with her own and her sweetheart’s portrait. The original of the illustration of the three full-length figures was cut in about 1805 in the northern part of Germany and illustrates an aunt and her two nephews. The other illustration represents an entire family group, and the little girl in the picture with pantalettes showing be- low her skirts, is the owner. It is Ameri- can, and if I remember rightly was cut in Milwaukee, Wis. The two portraits by Macey—signed— are unusually good in execution, are touched here and there with gold lining to bring out the drawing, and were made in London about 1820. Clorinda, one of “Bobbie” Burns’ sweethearts, is beautiful in conception and execution, and certainly a most un- usual silhouette. Even Goethe, the great German poet, tried his hand at silhouettes, and with 193 DR. FRITZ MENTZEL Cut by Hirschberg, Germany Emilie Mentzel, 1795 good success, as can plainly be seen by the accompanying illustration. The picture portrays the young son of Charlotte von Stein, the woman who so inspired young Goethe in his early days in Weimar. Goethe finally, as you will know, trans- ferred his affections from the mother to the son, and remained his fatherly friend and adviser to the very end. By the way, I must not forget to men- tion that the Academie Francaise has “CLORINDA”’ BOBBY BURNS’ SWEETHEART.

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‘194 Silhouettes—An Interesting Collection aS aoe tieaiesichaeainaananass-chapracesmeampennamdigaeantin FRITZ VON STEIN Silhouette cut by the German Poet, Goethe officially adopted the term silhouette, as the definition for shadow picture. Have you noticed the portraits of A. Rodin, the sculptor, and of Adolph von Menizel, the great German painter? ‘The latter died about two years ago, and this silhouette was cut by Paul Konewka in about 1870. TWO PORTRAIT SILHOUETTES Framed in Gold and Ebony You remember my telling you in the beginning how silhouettes were first made. Following this, some ingenious individual had a bright idea of inventing an easel holding in a tightly screwed frame a pane of glass with a piece of oiled paper fastened upon it. This was brought up closely to the sitter, and the profile which appeared sharp and distinct on the paper was outlined then carried out in the usual way. So this makes a third stage of the shadow picture. One illustration explains the entire process, and was taken from the book of Lavater. Though this process may seem easy, like child’s play, yet it requires a goodly amount of skill and application to make a successful picture. Then from this life-size picture was made the little pic- tures we usually see, and with the aid of the pantograph, as is clearly explained in another of our illustrations. | Of course, an artist did not make his silhouettes in this way, but simply with paper and shears in his hand, direct from the sitter. But since it was really an art, practiced more by amateurs than by art- ists, we will have to forgive them, knowing that this was the only way they could get anything at all that would resemble the original. And since one thing always leads to another, the amateur developed into the “society silhouette cutter.” Naturally SILHOUETTE OF RODIN Cut by Magda Heuermann

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By Magda Heuermann 195 AE 6 6 SHOWING HOW SILHOUETTES WERE REDUCED WITH AID OF PANTOGRAPH. the market became flooded with these lit- tle pictures, and then they were not al- ways the best; even so, we are very thank- ful for many a shadow picture handed down to us. | The time of the Rococo, with hair some- times towering “two stories” above one’s head, was certainly a most fortunate per- iod for the silhouette, since it offered more opportunities and greater possibilities of outline than any other period before or after. The Empire period that followed this epoch was beautiful and picturesque in color, but. rather “tame” for shadow pictures. It hardly seems possible that the char- acter can be read in those unpretentious little pictures, and yet it can. See the firmness of this mouth, the sullenness in the other, the happy-go-lucky in the third, MRS. ANNA HEUERMANN HAMILTON Silhouette cut by Magda Heuermann, 1896

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e 196 Silhouettes—An Interesting Collection DRAWING A SILHOUETTE and the utter I don’t care, in the next. However, this does not interest us so much as do the heads of the musicians, poets, statesmen and great thinkers in general, all or none too proud of having their profile cut. I might of course go on, and on, but since I have told you most of the facts of the most interesting time of the silhouette, I will close by quoting a bit from Lavater, the great Swiss preacher and physiognomist. He it was who read char- acter, and he it was who had hundreds of silhouettes cut for no other reason than to study character, and here is what he says of the four heads at the close of this arti- cle: | Fig. 1—A noble forehead, a miracle of purity, the love of order, I might say, the love of light. Such the nose, such is all. How capable of cultivation must such a profile be! I am unacquainted with the man, yet I am certain as that I live, that he is capable of the calmest examination, From J. C. Lavater’s Book, 1776 that he feel the necessity of, and delights in clear conceptions, and that he must be an attentive observer. Fig. 2—Much is to be learnt from this shade. Takes little, gives much; this is particularly conspicuous in the too round outline of the lips which is most defective. The most delicate lines have either not been remarked or cut away. The upper part of the forehead is also something curtailed; otherwise this countenance is refined, discreet, capable of talents, taste, wit and morals. | Fig. 3—Thus ought a man to look, but not a woman, who reads, but is not easily read. By strength restrained, exactness, mild fortitude, and disinterestedness, I would undertake to conquer and even to lead this otherwise irascible character, on whom a man may rely, after having eranted his confidence with wide inspec- tion. I am unacquainted with the per- son, but dare affirm that if foolish, there is, still, a capacity of wisdom. ie

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By Magda Heuermann 197 ADOLPH VON MENTZEL Famous German Painter, Died 1903 FRAU VON STEIN Geethe’s Friend. Fig. 4—Not angry impetuosity, not vio- 7 lent outrage, scandalous censoriousness, or gentleness, beneficence, delicate feelings, malignant intrigue are discoverable in excellent taste, not very productive, but this shade; on the contrary, each feature capable of information, and great ur- as well as the whole countenance speaks _ banity. Fig. 1 Fig. 2 Fig. 4 CHARACTER HEADS FROM LAVATER’S BOOK “

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The Making and Decorating of Glassware By Carl P. Prosch aS) Si : Ree lishing of glassware is a field in the domain of art-crafts few have ventured to explore in this country, and plausible reasons for this neglect can eas- ily be found. : In the first place the risk of entrust- ing the fruit of one’s labor of weeks or months to so fragile a material is dis- couraging. Then working in glass (melt- ing, blowing and shaping), is not practi- cable on a small scale. The artist can best take part in the production of blown glassware as designer, either at the head of his own industrial organization, or em- ployed by one—opportunities not open to many. hidden in glass, which manifest themselves in working, besides fragility, qualities tending to frustrate good results, to be overcome only by familiarizing one’s self with the particular make of glass in hand. The gathering of this experience is costly enough, to preclude the use of plain glass of unknown qualities for further embel- lishment. Moreover, it is safe to state, that plain glass worth a-serious effort at enamelling, gilding, etching, or engraving is not to be had in the market. ‘There remains for the worker on glass the al- ternative to design the shape of the article he wishes to decorate, and to have it made to his order, but, as single pieces can not be made economically, this calls for an investment, making care and deliberation imperative in planning the work. These obstacles in the craftsman’s path, notwithstanding, the knowing ones assert that designing of glass and working on it are fascinating, support those en- gaged in the craft, and hold opportunities Ts MAKING AND EMBEL- [198] Other treacherous qualities are. pertaining to the refining of glass. for more. It may be mentioned, how- ever, that these lines should not lead any- body into the belief that decorating glass is a promising field for those who have failed in other lines of artistic endeavor. Far from it. The causes of failure in other pursuits will lead to the same result — here, hastened by a multitude of technical difficulties. The one whose means are waning after a course of art instruction, who has to look about for quick results while continuing his efforts to ascend higher in the flight of his ambition, should not turn his eyes toward glass. But one with inclination towards decorative art, who realizes early that his lot is not with the few who will succeed in pictorial art - or sculpture, and is prepared to go through the drudgery of several years of appren- ticeship to acquire technical knowledge, either before, after or conjointly with his academic training, and does not stop at every step to figure whether the game will be worth the powder, he has a chance of success in the craft of refining glass, as it is professionally called in Europe. Glass is most successfully produced when the artist, technician and business man is united in one person. At least the first two should be one and in close co-opera- tion with the third. The truth of this has been realized in Bohemia, where two splendidly equipped trade-schools are maintained by the gov- -ernment, one in Haidi, the other at Stein- schoenau, for the instruction in the arts Be- sides drawing and painting, the principles and history of decorative art, their prac- tical application is taught in the work- shop as enamelling, etching, engraving and

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Ne man Oe eee aN CAMEO GLASS, APHRODITE Example of Cameo glass. By John Northwood, with Stevens & Williams, Stourbridge, England. & ee sv

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200 The Making and Decorating of Glassware i ny ig Em, # Fd Ms i ELGIN MARBLES CLARET JUG An ‘example of glass engraving. By F. E. Kny, with Thomas Webb & Sons, Stourbridge, England. cutting on glass. Chemistry is an im- portant subject, as well as the commercial sciences: Bookkeeping, correspondence, mathematics and geography. While schooling of a similar kind can be had in the United States in the ceramic branches in the states of Ohio, New York, New Jersey and Illinois, glass does not seem to be treated separately. The study of chemistry and the technical side in general has preference, while the artistic side of instruction is not dwelt upon. Though regrettable, this should not seri- ously impede the development of the im- portant industrial art under discussion in a country of individual initiative rather than the government paternalism. T'wo grave errors which come to the attention of the observer of attempts at glass decorating, so far, must be guarded against. One is to accept everything Bo- hemian, Venetian, or foreign as good, to be followed as an example. It must not be forgotten that the reputation of Bo- hemian glass is based upon commercial success, rather than artistic excellence. It has also an important place in the history of glass making. But very little Bo- hemian glass, that can be bought in the market, would fare well under the criti- cism of accepted authorities on design—no matter whether these critics be Americans or natives of Bohemia. The other error of glass-decorators re- sults from the fact that some of them were first china decorators. The same means, which decorate china, will never be the best means of decorating glass. The white opacity of one material, and the trans- parency of the other call for entirely dif- ferent treatments. While enameling and gilding on glass is done to a large extent, and some creditable results have been pro- duced, engraving, etching and cutting must be considered the hignest exponents of the arts of embellishing glass. In glass cutting, the United States have attained undisputed supremacy. But as the mechanical factors in its production predominate greatly over the artistic, glass cutting may not properly be num- bered among the art-crafts, in which the designer and executor are one. This is quite different with glass en- graving, which as an art in its highest development furnishes scope for display of even a gifted sculptor’s talent. Few fol- lowers of this art are at work in Bohemia and the Stourbridge district of England adapting antique mythological figure sub-

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tn \ SY uAMSUeIg yURIA Aq Bulydiq SHHYaTMINd AODCINA AHL

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he ee hn oe Saute = ee (eo aay

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By Carl BP :¢'\9'9:c:'h 201 jects into splendidly modelled intaglios on crystal glass. There is nothing to hinder American craftsmen to gain the leadership in this craft, as has been done in glass cutting, except it were the necessity to compete against the frugality of people engaged in this work in Europe. The same agency may come to the rescue here which helped the glass cutter in a similar predicament: improvements in tools and mode of work- ing. To change from working with a rotating point at the end of a spindle in a stationary lathe, to one at the end of a flexible arm, as dentists use, seems to be an improvement in the mode of glass engraving just ready for adoption and perfection. Engraving in connection with etching has furnished the late Emil: Gallé his means of expression in art. As a splendid example of an artist at the head of an _ industrial organization Louis C. Tiffany must be named. Little is known about the technical exe- cution of the famous example of cameo glass, the Barberini or Portland vase, but it is not true that carving cameos on glass is a lost art, as an exact copy of the Bar- berini vase has been executed by John Northwood, of Stourbridge, England, in 1874 to 1877. | Cameo glass is still sculptured partly by the use of the engraver’s lathe, partly by the use of small steel chisels. George Woodall, also of Stourbridge, excels in this art. Though the artists mentioned, fore- most in their field, have worked on col- ored glass, transparent or translucent and the historic example of cameo glass is al- most opaque the broadest development of handicrafts in glass must be expected along lines preserving and emphasizing the material’s most distinctive qualities: colorless clear transparency and brilliancy. Articles for the table and the display of flowers are best adapted to execution in glass. The designer of forms will best show his mastery by restraint. Simplicity of outline, feeling for proportion in sil- houette, must be aimed at. All sharp in- — terruptions in the flow of outline, adap- _ HONESDALE WARE ’ Example of enamel and gold decoration on glass y Carl F. Prosch, Honesdale, Pa. tations from architecture, woodturning or metal spinning are out of place in glass. Simplicity, harmony of proportion, and refinement of line go to make a well de- signed piece of glass, be its use ever so trivial. The decorator will have to avoid the “too much” of the Bohemian and the lay- ishness with color of the china decorator. A feeling for relation between decorated and plain spaces shows the master deco- rator. Ornamentation must not be more important than the article ornamented ; it should be accompaniment, not melody. An accent of color in transparent enamel, used sparingly, is permissible, so may be a line of gold, but the chief quality of glass should be emphasized and not obscured.

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GROUP OF TROPHIES FOR THE WASHINGTON PARK GOLF CLUB Designed and Executed by Jessie M. Preston, Chicago

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Some Notes on Arts and Crafts By Alice Muzzey f<AQS \o & ee Y T IS INTERESTING, in view of the status of handicraft at the present day, to see the conditions under which that group of Englishmen, with William Morris at the head, made its first struggle to emancipate the artist-artisan some thirty years ago. Among the many evi- dences of the good resulting from their study of social and economic, as well as CARVED BOX IN COLOR’ W. W. Kent, Buffalo artistic possibilities, none is more. im- portant than the discovery and encourage- ment of the individual in the field of in- dustrial art. Before this revival of interest in the crafts, the position of the worker along these lines was indeed a hard one. Buried in oblivion, his name unknown, his talent absorbed in the desire to advance the in- terests of the firm for which he toiled, the earnest worker, even though striving for the betterment of his special field of ex- pression or his own sense of color or form, was rapidly becoming only a human ma- chine. Not only this; the future threat- ened to take even this from him and sup- plant his energy by mere steel and iron. Of what avail could it be to this man to elevate himself beyond mere manual dex- terity ? By patient effort and unflagging enthu- siasm and through the co-operation of many advanced thinkers, step by step has come the present state of things, where the individual comes forth from the mass, [203]

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204 Notes on Arts and Cratts LAMP IN BURNT AND STAINED WOOD, WITH BRASS SHADE : Designed and Executed by Lester C. Misner, Buffalo, to receive his due quota of recognition and patronage. So universal has become this idea, that we look with some contempt upon those firms where, for commercial reasons, due credit is not given their tal- ented designers and draughtsmen. Also, that handicraft has come to be self- supporting is shown by the number of craftsmen who are working independently. We may go to them directly, without the intervention of the middleman to execute any kind of decoration, from the bit of twisted silver that evolves into the coffee- spoon to the mural painting of a theater. There are three ways by which this has been brought about. First, through the formation of Arts and Crafts Societies; second, through exhibitions of handicraft ; and third, by shops where hand-wrought articles are always on sale. That all of these ways have not proved in every case successful is due to well-defined reasons. In the first place, it is difficult to reach the artisan class, or at least those of this class whose work is worthy of serious consideration—so hampered has the work- man been by the restrictions forced upon him by trade competition and the ignor- ance of employers. Again, it is sometimes impossible to convince the men of the sincerity of our motives. But, neverthe- less, each society has discovered and counts upon for its most valued contributions many who would otherwise have been over- whelmed by commercialism. And these individual cases are well worth the effort! In this connection, it is interesting again to review the past. We find, in reading Walter Crane, Lewis Day and others, that much stress is laid upon be- ing honest in one’s work, abjuring imita- tion in materials and manipulation, avoid- ing truckling to the buying public by debasing one’s art. This is distinctly en- couraging to those of us who have the movement keenly at heart; for surely those evils have been overcome, at least by the craftsman who can work inde- pendently. Indeed, the pendulum may have swung even too far. For, in the eagerness to show the “tool,” there is danger of too little finish; it has yet to be learned by many, especially amateurs, that the crudity and irregularity of early work was due to the limitations of tools and materials; there was no affectation in those days. We have made a fetish of simplicity; “Mission” furniture replaces the graceful curves of earlier periods, the stencil shuts out fine embroidery. An- other feature suggests itself. With the present desire that every hand-wrought

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ashen N : Fig. 3 : Group of Trophies. Figs. 1 and 2 ‘Designed and Executed by Mr. Jarvie; Chicago; Fig. 4 by Jane Carson and Mildred Watkins, Cleveland Fig. 3 by Jessie M. Preston,

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Notes 206 SILVER PIECES article shall be original and unique, there is fear that we may be satisfied with it chiefly because it isso, be it never so extravagant; forgetting that it must first be beautiful and that, if so, it should be universal. We have much to learn from the Japanese in the democracy of their. art; the color-print from the hand of a master is no less a precious possession because there may be several in existence. I would not be understood to mean by this that the world should be flooded by exact reproductions; but in hand-made articles each may vary, in fact, can hardly help but vary, in a slight degree, giving each its special character. This is, of course, the case in the Japanese print, where, be- ing colored’ by hand, no two can be pre cisely alike; so, too, on the same bush no two roses are counterparts. But what I do mean is that the taste of the vast pub- lic can never be improved to an apprecia- ble extent while things of beauty may be possessed only by the moneyed class while those of moderate means or less must be satisfied with the machine-made and meretricious. ee To turn now to local conditions. If it on: A tts ged Lt a its Designed and Executed by Jane Carson and Mildred Watkins, Cleveland were true of art, as of nations, that the happiest have no history, the applied arts in Buffalo would be deserving of envy. As a matter of fact, even though repeated efforts have been made to organize an Arts and Crafts Society, there has never been sufficient encouragement for one. Although the Buffalo Society of Artists came into being some fifteen years ago and has flourished more or less success- fully as an association of painters and sculptors ever since, no attempt was made to incorporate with it the applied arts until six months ago. It is true that under its auspices an Arts and Crafts Exhibition was given in the spring of 1900. ‘This was very successful both from an artistic and financial point of view, but the Arts and Crafts Society that was expected as a natural sequence failed to materialize. Last January, however, a small band of enthusiasts devoted time, energy and money to the forming of a branch of the Society of Artists to be given exclusively to the exhibition and sale of designs and articles in the crafts. The headquarters of the society being in the Albright Art

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icago Dt terrae teaen aes eee Shop, Ch 1e - R Designed and Executed in the Jarv ER AND COPPE SILV CES IN AND SCON TRAY ectiy sh Wien me Ce ae ete j

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208 Notes on Arts and ©ratts Gallery, away from the business center and “student-quarter” (to borrow a phrase dear to all who have studied in Paris), a room was taken in the Guild Studios, where a series of specialized exhibitions was held, each for two weeks, the room being kept open continually as a sales- PENDANT IN SILVER AND AMETHYSTS Designed and Executed by James H. Winn, Chicago room. A committee was formed, each member of which became responsible in turn for one exhibition. A postal-card printed in black and red notified members and any others, especially among the artisans, who might be interested. In this way we reached a small but important class of contributors. A conscientiously severe jury passed upon all entries and after each exhibition a certain amount of unsold work remained “at the discretion of the committee on arts and crafts.” Thus the exhibits had to pass two juries before remaining on sale. The first exhibition opened on January 16, 1906. It was devoted to color-prints, monotypes and stenciled. work, also de- signs for wall-papers and other printed SE Se S = SSR FOB Labradorite and Silver, Mounted on Suede Leather. Designed and Executed by James H. Winn, Chicago matter, not including books. This being a somewhat untried field, the exhibition

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210 By Alice Muzzey COPPER LANTERN WITH GOLDEN BROWN AND YELLOW LIGHTS . Designed and Executed by R. R. Jarvie was enlarged by two or three dozen Jap- anese prints. The exhibition was enthusiastically re- ceived and many sales were made. It was evident that the thing would go; Its success was all the more unexpected as the opening exhibition attacked the de- pleted Christmas purse. The next month an exhibition of Tex- tiles brought a large and very interesting collection. Deerfield, the Boston Arts and Crafts Society, the Scuola d’Industrie Italiane, of New York, all sent generously and we had besides Porto Rican drawn- work, beadwork in new and _ unusual forms, hand-woven rugs and counterpanes and baskets. Curiously enough, hardly any embroidery was submitted. That this art needs fresh inspiration was plainly to be seen. Whereas ten years ago we should have been overwhelmed by embroidered center-pieces, doylies, sofa-pillows—what not ?—we now passed upon only a few of these and they were, as a rule, impossible. Basketry and beadwork had supplanted embroidery. For educational reasons, a few exhibits were made of beautiful old weaving and embroidery and we hope when we have more space at command to make more of a feature of this side of the movement. Only by thoughtful study of the decora- tive art of the past can the untutored eye and untrained hand appreciate and emul- ate the best. * The third exhibition took place in March. Requests for work in leather, metal and wood called forth the most interesting exhibits of these crafts. The room here, as in the former exhibi- tions, was most carefully “hung,” and, by limiting each to one or two forms of handicraft, the room was never over- crowded and every article received full justice. We expected to show pottery in April; but, as the annual exhibition of the Soci- ety of Artists took place then, the lesser undertaking was merged in the greater and a union of the arts was held from April 27 to May 22, in the Albright Gal- lery. Exhibitions for the coming year are already being arranged for, following the same general plan; the venture having fully justified its existence.

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“IT IS the longest | night in all the year, \ Near on the day when the Lord Christ was BAA Six hours agoTeame LAN SIX Hours ago | came © Xe} and sat ati here, nd ponder'd sadly, wearied and forlorn. The winter wind that passd the chapel door, Sang out a moody tune, that went right well ae | With mine own thoughts: I lookd down onthe floor, —" my feet,until l heard a e LETTERING AND BOOK Copyright by DECORATION The Blue Sky Press

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English Colored Books By Martin Hardie (REVIEW) that are provided for the book lover’s besetting there is none more interesting than books with colored illustrations. Old manuscripts, and those earliest books whose rough pages were adorned with hand-colored wood cut il- illustrations. Old manuscripts, and those more pretentious editions, but a compari- son of the modern with the early work is rather to the advantage of the latter. It is this reason, in part, that makes this volume which is concerned with the vari- ous and often intricate methods of repro- duction used in the printing of colored illustrations of such interest to all book lovers, as well as to any one interested or engaged in modern book illustration. The author at the beginning has wisely classed the methods of reproduction into three groups: wood cuts, stone work and metal work. It serves to give the inves- tigator who is not familiar with the vari- ous processes a key to the mystery through which the printer has arrived at his results without compelling the reader to finish the whole work to understand one part. rere The various chapters, taking up first the earliest wood cut color printing, treats of hand colored plates; the art of Chiar- MONG the various sorts of books oscuro and of J. B. Jackson and other. exponents of it, of color printing from wood blocks; of Baxter’s work; of print- ing from metal and of mezzotint, going’ into considerable and interesting detail concerning the work of Le Blon Jawrie, Gamble and Bartolozzi. The chapter on William Blake, his methods and results, is most interesting. [212] The process of colored aqua tint is carefully explained and the development of lithography comprehensively sketched. Henry Alkens’ sporting plates, Row- landson’s work, the Cruikshanks and their work, Leech, Thackery and “Pluz” are each given their proper share in the his- tory of this intensely interesting craft. The later and modern processes as used by Leighton, Crane, Kate Greenaway and others are well represented and the de- scriptions are carefully expressed and the plates well printed. The book has a num- ber of three-color halftone fac simile il- lustrations taken from the original ex- amples, most of which are only fairly suc- cessful. The best are the Blake fac simile ~ from the book “Vision of the Daughters of Albion,” “Hotel de Cluny,” “Windsor Castle,” a plate by John Leech and one from Kate Greenaway’s “Under the Win- dow.” The book itself is a very large quarto, is printed in 14-point Caslon by Constable of Edinburg, and is handsome to look on and easy to read. ‘The con- tents are thoughtfully and accurately written and clearly describe the processes. The biographies are condensed but inter- esting and the bibliographies complete. The work is one of the best of the series. R. F. S. The term “Book of Gold” is frequently applied to works of supreme excellence, but it is not often that a real book of pure gold is to be seen. Such a book has been presented to the Museum by Mr. Samuel Putnam Avery, and has been placed on exhibition, not alone as a curiosity, but as an example of the goldsmith’s art of that part of the Indo-Chinese peninsula

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BOOK DECORATION AND Copyright by LETTERING The Blue Sky Press

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214 Books and Book Comment called Annam, where it was made. While now a part of Cochin-China, and belong- ing to France, Annam was formerly a part of China, and its art shows this close relation. The book consists of four leaves; two of them, covered with brocaded silk bind- ings of a Chinese book, serve as covers, the others are filled with the text, en- graved in regular columns enclosed within lines, as in an ordinary Chinese book. The subject of the text is an imperial decree by Gya-long, Emperor of Annam, con- ferring a patent of exalted rank upon his deceased grandmother. It takes the form of a prayer offered up to the deceased, who is described as “the Tender, Fairy-like, Kind, Sage, Chaste, Docile, Graceful, Quiet Consort,” and is signed by the Km- peror as “her humble subject.” The book measures 514x10_ inches, weighs 31.755 ounces Troy, and is of the fineness of 95.836, or 23 carat. Mr. George F. Kunz, in a note written when this book was exhibited at the EXAMPLE OF BOOK BINDING RED MOROCCO GOLD TOOLING By Gertrude Stiles Grolier Club in April, 1903, says: “The alloy is of silver and some other sub- stance whose properties tend to change the gold to a ruddy color on exposure. The color of the covers, which seems peculiar to the gold objects of Annam, Siam and Burma, is evidently due to the beautiful tarnish caused by the action of the time, or by some component part of the gold. That the color is partly tarnished is evi- deneed by the fact that only the cover and that part of the inner leaves near the holes through which the rings pass, show it. The gold is just as it was taken from the alluvial river washings, the sheets were evidently hammered out, and not rolled as they would have been by European workmen. The ornamentation was made by flat chasing, the lettering by means of a tracing tool; a beader and hard chasing- hammer were also used. The reason why the tool marks do not show through ‘is that each leaf is made up of two pieces cleverly joined together at the -edges, so that the marks should not be visible.’ EXAMPLE OF BOOK BINDING CRUSHED LEVANT GOLD TOOLED SAGE GREEN By Gertrude Stiles

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” ————__ — oa ee Y wae = = — ae 5 a = =s ~ Sw —— a - i] *. x ft - = = ‘an oe ese os oe oo - _° ¢23 a , ‘sa. =, VX —N n ~ ¢ . 4 Bho varez to teal this hove’ of mine, ILLUSTRATION AND : " Copyright “by LETTERING. The Blue Sky Press

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COPYRIGHT 1904, BY WALTER C. HARTSON, CANAL NEAR DORDRECHT

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Figure Drawing Ay R. G. Hatten one of the most usual in art. It is particularly convenient, for it com- bines, or seems to combine, the “simple” or representative views of the features. Thus the eye is practically in full view, at all events the nearer eye is. The off eye has always been a worry, and it is sur- prising how often in old work the respon- sibility is cast upon the other. Then the nose is in profile, or appears to be so to the uninitiated. The features, moreover, are not liable to be mixed with the back- ground. This is a distinct gain, as any one who has drawn heads with back- grounds will admit. T= THREE-QUARTER VIEW is Fig 67.—A GREEK PROFILE The three-quarter view can not be profitably reduced to only one or two lines. The cheek-profile may be expressed in two lines making an angle at least half- way down the head. The top and back of the head may be differently expressed in the two sexes: the man’s by three angular lines, the woman’s by an ovoid curve, though often the angular massing will suit best in that case also. | The internal lines are three. There is the one bounding the hair, that for the jaw, and one running down the cheek, and (Published: by Charles Scribner’s Sons, New York. Price, $3.00.) corresponding with the outline of the face against the background. Of course if a sufficiently sinuous line were used, it wal 4 UZ = = => = =—— + ~ S ae ee ~ \\\ — en i} ae \ ~ . \ } “ on \t - a. \ \ ue >)</) =_ Fig. 86.—A MAN’S HEAD could trickle round all the form, hair, ear and jaw, but the object of our present task is to find out the first lines with which we begin our work, not those which ultimately are used when full and com- plete form is rendered. Our first lines turn the form into a crystal—into a solid with planes meeting in ridges. Conse- quently we use lines, at first, which em- phasize these conditions. In the present case we use three: hair, cheek and jaw. The hair-line in man is so irregular that it must be simplified. This irregu- larity is due to the hair receding over the temple, and coming forward again in a [217]

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Figs. 73, 74, 75.—THE CHIEF PLANES FW r Figs 76, 77.—THE CHIEF PLANES Figs. 78, 79.—THE FORM DEVELOPED.

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Figure Drawing 219 ‘WOMAN’S HEAD. zigzag manner. Both in the man and in. the woman the hair extends beyond the ear, so that it can be said to follow a line from the top of the forehead to the bottom of the ear. Fifty years ago the ladies used to hang their hair like curtains, down either side of the forehead, in a drooping curve which was looped up be-— hind the ears; the fashion survives in the wooden doll. * If the reader examines the drawing of the head in the many illustrations seen in the ephemeral publications, he will find that the three-quarter view is very often employed. Indeed, I have heard it said of one of our humorous draughtsmen that he always draws his heads in that aspect. It is useful to the student to consider the degree of foreshortening involved in this three-quarter view. ‘The eyebrow is prac- tically half lost, since it is partly on the forehead, which remains in view, and partly on the plane of the brow, running back to the ear. It is this part, running back to the ear, that is lost. The far eye is quite unlike the near one, which is seen in its true shape. Both the upper and lower lips are reduced to almost specks ; indeed, they are often suv represented on the far side. The nearer side of the lips, like the eye, is practically the true shape; even the full view of the face does not give the form of the lip so accurately. There is little that need be said in ex- planation of the accompanying diagrams. They are, indeed, only new views of the facts of form spoken of in the preceding pages. They are intended to illustrate Figs. 80, 81, 82.—THE EAR AND NOSE IN RELATION TO THE OUTLINE.

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220 By R.G. Hatton the various planes and ridges which char- acterize the normal form. It is this nor- mal form which is so important to the draughtsman, for it is that which he handles when he puts his heads into per- spective. It is singular how easily stu- dents overlook the influence of perspective on the head. Often a drawing is quite spoilt through neglect of what should be to all artists the first technical principle. When a head is above the spectator, obvi- ously he will be looking wp into the brow, and the little plane which runs from the eyebrows to the back of the eyes will have to be managed just in the same way as the under-side of any projection; and this applies to the nose, lips and chin. The mouth has two corners, and therefore, when the head is turned so that one is looking at the under-side, the farther corner will be the lower. Now it is not likely that the draughtsman will succeed in this foreshortening if he has not con- trol of the planes into which the form can be summarized. | | An important fact of proportion con- cerning the three-quarter view is that the ear and the nose both touch the outline. That is to say, if, as we draw, we find the nose touching the outline of the cheek, we can draw the outline of the back of the head down to or through the ear. And in the same way, if we find the nose is within or clear of the outline of the cheek, we can allow the ear to project beyond the back of the head. No definite rule can be observed, however, because heads vary so much, and ears and noses vary so much; the ears sometimes sticking out, and some- times lying flat against the head. The artist has to judge whether the head he is drawing seems to be such as would have the ears projecting or lying flat, and must order his work accordingly. (To be continued. ) Zar e From the Tower, Art News and Comment is almost a negligible quantity at the dealer’s shops in these days, save when he happens to have seen the light of day under the skies of the Low Countries. If by any unfortunate accident the land of his birth is in these United States of America, it requires something in the shape of a microscope to discover him out- side of a few, very few galleries. One must, however, take off one’s hat to these Dutchmen, since they know their metier surprisingly well; they have something to say and they say it entertainingly. They are painters who delight their fellow painters. And it is, after all, a test of the T would appear that the modern painter man that his brother craftsmen approve of him, for it is the judgment of the artist that endures. One does not have to delve far into history to establish this fact. The public comes around to the artist’s way of thinking. And, naturally, who but the artist should be the final authority on a work of art? So we ask for place aux artistes du Paye-Bas, and they are no- where better represented than at the gal- leries of Scott & Fowles, 295 Fifth ave- nue. Many of the works shown here come from the collections of two London con- noisseurs, J. Staats Forbes and Alex- ander Young, men who were famous for

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Art News and Comment 221 their perspicacity in art matters and who bought early in the game, before the world caught on to the fact that the men they patronized were of a little better clay than the average. It was last winter that one of the group soared to such phenomenal prices in the auction galleries that the average New Yorker began to sit up and take notice. A Mauve for over forty thousand dollars, and then a second one for the same amount, and then a third for over twenty thousand dollars! Here were business propositions to appeal to the practical merchant, and the Dutchmen straightway took on a boom! Yet Scott & Fowles have a modest Mauve here, quite as artistic as any we have ever seen, and a good deal more attractive than most of them, naive in its simplicity, represent- ing “After Work,” and ‘showing a peasant homeward bound, on the back of a horse, leading two other animals. Above is a lovely evening sky, full of poetic light bursting out from some lowering clouds, the entire landscape catching the tones and being illuminated with a refulgence very beautiful. and, incidentally, exceed- ingly difficult of realization. Then, there is a simple stretch of sea and beach and sky, all of a gray tone, all painted with commendable directness and freedom, by Jacob Maris, it would seem as only Maris can paint. It is called “The Mussel Gath- erer,’ but that matters little; any name, or no name would do. It is nature, na- ture portrayed from its great, big side and portrayed in a masterly manner. Again, Maris is seen under another mood, giving us this time a colorful effect of a town with mills, a bridge, shipping and wharves, and all this on a little panel, not more than six by eight inches. When it comes to the rendering of ten- der motherhood, the lowly life of the cot- tage, and the poorer submerged classes, of course these Dutchmen stand par eacel- lence as the first of the century. Some- how, too, they seem, while painting the same theme so many times, to get at it so often in a different manner, to hold your interest anew each time and to give a nov- elty to it that is most entertaining. Here are represented Joseph Israels, Neuhuys, Blommers and the rest of them, getting beauty and charm out of the quaint, musty interiors, with dark fireplaces, cob- webby windows and broken down chairs and tables. Again, they will wander out of doors with their figures, portray chil- dren at play along the beach, or show fishwives waiting for the boats to come in, all with the touch of human nature, the unmistakable touch of humanity permeat- ing the canvas, the ever new, ever old story of men and women, with their hopes, their struggles and their trials that go to make up life. A large upright canvas hangs in the galleries of Louis Ralston, 326 Fifth ave- nue. It is of an English gentleman in a curious suit of buff with leather boots and doublet, a quaint, stiff, formal looking party, but typical of the times in which he lived, times unsettled, full of agitation and strife, in short the period when Cromwell ruled England and when poor Charles first lost his head at Whitehall. The artist, Daniel Mytens, was painter to the unfortunate monarch Charles and was supplanted by the greater painter, Van Dyck, whose manner he adopted to a large extent. Indeed, it is to be feared that many canvases by Mytens do duty as genuine Van Dycks among unscrupulous dealers. Be that as it may, Mytens was a good crafts- man and he did many an excellent por- trait of which this is a good example. The subject was Sir William Ruggeley, of Dunton Curdvath, in Warwickshire, a well known loyalist in the civil wars. A sturdy Briton he, with curling moustache and goatee, standing with a hand resting

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one Art News and Comment. on a table on which lies his helmet. About his neck is a broad white collar and he wears white cuffs in the manner of the day. It is a highly interesting canvas and near it is another by Jan van Raves- teijn, pupil of Franz Hals, born at The Hague, where he died away back in'1657. It is a patrician Dutch lady he has paint- ed here, one Jannetje Hooft, in somber black, of course, with gorgeous white ruffs, and one feels somehow the work is a human document. Ravesteijn was an accomplished craftsman too and this is characteristic of his manner. It is a jump from the art of these men to that of Sir Thomas Lawrence, who at the age of fifty-one was president of the Royal Academy of Fine Arts in Lon- don, and the vogue as a portrait painter. He is represented at these Ralston rooms by a canvas of the Countess of Normandy, a beautiful young English woman in sim- ple white dress, standing in front of a landscape background. It is all very clever, somewhat artificial, but withal en- tertaining. Once more there is a jump to the art of Meyer von Bremen, not rep- resented here with one of his usually in- sipid little girls, but on the contrary with a delightful little panel of a small boy and his dog, a work recalling the Ger- man Knauss rather than von Bremen, fresh in color, virile in drawing and de- lightfully dexterous in a technical way. They sit together, the boy and the animal, on the steps of a cottage, and to the left one may see some mountains stretching over their heads heavenward, a pleasing composition as well as an engaging bit of human and brute nature. A little panel by Diaz is representative and of simple rendering with a fresh, brilliant sky and cleverly painted woodland and there is, not to be behindhand, a modern Dutch- man, Pieters, who has a bit of shore, some fisher people and boats, such as his countrymen paint frequently, all broadly put in, convincing in its tonal arrange- ment and of pictorial attractiveness. With all this, there are more of the moderns, Kuropean favorites offering the collector considerable choice. William Clausen, whose galleries at 381 Fifth avenue have been confined to the work of the native, and, during the sum- mer, placed several important pictures in western museums, has been abroad and returned with some remarkable old frames, mainly of carved wood, which he picked up in Italy, whither he went for © this special purpose. With a nice inher- ent taste in such matters, Mr. Clausen himself, working with the wood carver’s tools, has duplicated during the years past for his own amusement, many attractive frames on this order, the originals uf which he secured at auctions, or in ‘old bric-a-brac shops, and this season he de- termined on a voyage of personal explo- ration at the fountain head. He has been singularly successful, having for a trav- eling companion part of the time, Emil Fuchs, the distinguished portrait painter who passed last winter in New York. To- gether they made many important finds. Mr. Clausen recently sold to Mr. Ett- linger, the well-known American collector, an important example by Winslow Homer, a painting that secured for the artist a medal of honor at the world’s fair in Chicago. During the coming winter Mr. Clausen will hold various exhi- bitions by natives, beginning with the work of Howard Russell Butler, a mem- ber of the National Academy of Design and president of the Fine Arts society, a painter of marines, landscapes and por- traits, who is passing this winter in Cali- fornia, and many of the things to be shown were executed in that locality last

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Art News and Comment 223 winter. Since the recent fire in Mr. Clausen’s place, the galleries have been completely changed and fitted with the latest conveniences in the way of lighting, ventilation and advantages for the proper exploitation of pictures. Mezzotints in color by both James S. King and Charles Bird are among the new publications in. the Klackner gal- leries are of pictures by the older Frenchmen, Nattier and Boucher, the themes in each case being of beautiful women. As these plates are printed under .the immediate supervision of the artists and, indeed, with their aid, the results are most inter- esting, a mellow tone pervading the im- pressions. Helen Hyde, with her Jap- anese prints, comes closely to the charm of the Orientals themselves and her sub- jects reek of the soil. For two years now, Vaughan Trowbridge has been attracting favorable comment with his etchings of Venice, which he himself has printed in color, each plate having more or less of a different result, all decidedly personal. This season some new themes of Paris, some of the river, bits with churches and public buildings, streets crowded with people and boats lying by the quays being quite up to the Venetian series. In the rear gallery is a modest collection of Dutch water colors and pastels, among the artists being Tony Offermanns with a homely cottage scene of a woman and child “Feeding the Chickens’; Willy Martins, wherein are some peasants and a goat; Wilhelm Steelink, “Driving Home the Flock”; a pair of lions by Van Essen and three works by Willy Sluiter, the latter in pastel, drawn with exceeding directness and artistic feeling. Lastly, Morris Randall shows some pastel por- traits done in the manner and costume of the early Englishmen. 7. West 'T'wenty-eighth street, and. BOSTON ART NOTES. EXHIBITIONS NOW OPEN: Boston Art Club—Autumn Exhibition. St: Botolph Club—Mr. Metcalf’s Land- scapes. Kimball’s Galleriese—Ten American Painters. — Copley Print Gallery—Mr. Cushing’s Portraits. Boston Public Library—Architectural Exhibition. Museum of Fine has ie Italian Lace. Museum of Fine Arts—Old Silver. Rowlands’s Galleries—Boston Paint- ings. Cobb’s Galleries—Mr. Yeto’s Water- colors. , Doll & Richards’s—Old French En- gravings. Doll & Richards’s—Dr. McKenzie’s Sculptures. The very cream of American art is to be in Boston this year, and the present season promises to be the best ever yet experienced. ‘The number of exhibitions are increasing, and the quality of work a great deal more exclusive. It is quite exceptional that all the studios are taken, all the art schools are overflowing, and more artists are living here than ever be- fore. The latter is due largely to the atmosphere of Tarbell, Benson, Woodbury and DeCamp. The Boston Museum of Fine Arts has added to its already famous collection six paintings by Millet; “The Reapers,” “Knitting Lesson,’ ‘“Washerwoman,” “The Coming Storm,” “Buckwheat Har- vest.” There are two of Elihu Vedder’s, “Fishermen and Djinn” and “T'he Sphinx” ; “Marguerite,” by William Hunt, and an interesting old portrait by Gilbert Stuart. There are some good landscapes. by John Crome, George Michel and John: Constable. Three of the works of Claude

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224 Art News and Comment Monet have just been given to the Mu- seum, and an interesting sketch by Pie- polo. A wonderful exhibition of eight hun- dred pieces of laces and embroideries opened last week. They are specimens of Italian, Dutch, Swedish, Spanish, Danish and Flemish. ‘These were collected by Signorina Carolina Amari, of Florence, Italy. She has been able to get examples of every known kind of lace-making from sixteenth century to the present day, which makes this exhibition of historical importance. The “Ten American” painters have opened an exhibition in a Beacon street gallery. The “Ten American” painters are among the best we have in America, and their amended title is none of their doing. This same exhibition is to be shown in a dozen or more of our big cit- ies. Among the works here is the famous “Girl Crocheting,” which has the reputa- tion of being the finest picture painted in America; though one still retains one’s allegiance to the “Venetian Blind,” which seems to be the most beautiful thing which Mr. Tarbell has ever executed. This is an exhibition of small canvases. Pic- tures by Mr. Benson tend to interior effect. His “Rainy Day” is most interest- ing. Mr. DeCamp has shown amazing skill in his work, he certainly takes the lead in his handling of the head or the figure. Mr. Metcalf’s “Moonlight Scene” is one of the most enchanting composi- tions of the whole show. Mr. Weir pre- sents his usual fascination, his “Coon Hunt” being a most interesting night effect. What strikes one first in Mr. Has- sam, is his remarkable gift of arrange- ment. He has done good things in this exhibition, the best being a study of the nude. Mr. Robert Reid’s decorative work shows up to its usual great advantage. Mr. William Chase has some successful canvases, the best being “Feeding the Baby.” The Boston Art Club has just opened its annual autumn exhibition. This is for members only, and each artist who be- longs has his chance, there being no jury. The collection is remarkably good, with a few exceptions. The most important contribution is by J. Frank Currier, who has twenty landscapes in pastel. John Enneking has also an interesting group of landscapes. Abbott Graves has four excellent pictures. Among other numer- ous works are two figure pieces by Jean Paul Selinger. At Leonard & Co.’s salesrooms the — other day, four original portraits by John Singleton Copley and one other Copley were sold. The portrait of John Hancock was sold for $2,800. Mr. Metcalf’s exhibition at the St. Botolph Club has a vitality, a freshness in point of view, and a breadth of hand- ling that is most remarkable. Metcalf is one of the “Ten Americans,” and he has opened this season at the club most auspiciously with his wonderful collection. Among his most interesting works are: “Dogwood Blossoms,” “May Night,” “Partridge Woods,” and the “White Mist.” A detail, unimportant as it may seem, but still significant, is the naming of these pictures. In each title he strikes just the right note. Mr. Howard Cushing has an interest- ing exhibition of portraits, the best being that of his wife. Mr. Cushing’s work is well characterized by special attention to light. “The Gold Screen,” which took one of the prizes at Carnegie Show at Pittsburg, is excellent. Three fine por- traits are those of Mrs. Lanier, Mrs. Payne Whitney and Mr. Blair Fairchild. The “Woman in a Silver Dress” was at the Champs de Mars exhibition last year. It was tremendously admired.

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China Decoration =M. T. WYNNE= Newest Shapes—Largest Stock WHITE CHINA FOR DECORATING Specialties for the Holidays Colors and other Material for the China Painter $3,000 worth of the best Tapestry Canvas, including the celebrated A. BINANT make, at half price 39 West Twenty-First Street, NEW YORK A. Sartorius & Co. Manufacturers and Importers of Artists Materials and Colors CHINA PAINTING OIL-COLOR PAINTING WATER-COLOR PAINTING Write for Illustrated Catalogue 45 MurRRAY STREET, NEw YORK THE SKETCH BOOK Just issued—Free upon request Catalogues China and Glass Colors and other material ee the Amateur Decorator. including the ‘ Elarco™ Brand of Strictly hand - made French Brushes and Pencils of unequaled quality and many other valuable Novelties, controlled exclusively by The New Color House of L. Reusche & Co. 71-73 Park Place, New York So Perfect as to Deceive When you see a piece of China of unusual beauty, and if you are familiar with Transfers, you instantly know that it is a Ceramic Transfer Co. make. Our Mineral Transfers are known by ‘their perfection of finish and always recognized by those who know. We have adopted a trade mark for them. When you see a sheet of transfers bearing the above trade mark you will £zow that you are getting the dest and the cheafest. ft 7s our guarantee. CERAMIC TRANSFER CO., Please mention The Sketch Book when writing to advertisers. 656 Broadway, New York [XVII]

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THE SKETCH BOOK Art Education A e r C R A F T REPUBLIC BUILDING ik State and Adams St., 45 INSTITUTE CHICAGO Classes in Drawing, Designing, Modeling, Pen and Ink, Metal Work, Jewelry, Stained Glass, Interior Decorating, Stencil Cutting, China Painting, Embossed Leather, Cabinet Making, Block Printing, Printing and Proofreading, Artistic Dressmak- ing, Pattern Cutting, Embroidery, Normal Courses. Day and Evening Classes. Sve THE ART INSTITUTE ART SCH@L of Chicago W.M.R French Director N.H.Carpenter Secretary AEOLIAN PIPE ORGAN Drawing, Painting. Sculpture. Illus - tration, Design - ing, Architecture and Normal In - struction. @—& The faculty includes such well- known artists and teachers as The instrument you have heard in the finest homes in Chicago and Lake Geneva. Specifications furnished upon request. Built only by LYON & HEALY, CHICAGO Favor, Ruhl & Co. Importers and Jobbers of a Vanderpoel F. W. Freer pout aoe bah ae French e » e L - : bs Fine Artist Materials OL. Face been L. J. Millet F. Phoenix L. W. Wilson Albert Krehbiel Mussini Oil Colors T. W. Stevens Jeannette Buckley Dr. Buettner’s Mediums and Varnishes Allen Philbrick Horodam Water Color Tubes and other able instructors Vienna and Kohinoor Red Sable Brushes Chin Chin and Pelican Inks Van Dyke Bristle Brushes—superior quality Arrangements have been made with M. Alphonse M. Mucha, the famous he French artist and poster designer, to Monogram Illustrating Board lecture and conduct classes in the art Easels, Sketching Boards, Pencils school during the Autumn term. He will also exhibit a collection of his works. Every Material of Finest Grade and Superior Quality | ee STUDENTS MAY ENTER AT r ANY TIME fee See eee Ecademy DRAUGHTSMEN and Friday evenings, from 7 to 9:30 Send for special price list. Favor, Ruhl & Co. CHICAGO : NEW YORK: 108 Lake Street 49 Barclay Street Illustrated information may be had by addressing Ralph Holmes. Registrar. the Art Institute Dept. O. CHICAGO Mecise ERAS - SERS _& Kor a [XVIII] Please mention The Sketch Book when writing to advertisers.

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Art Education and Material THE SKETCH BOOK ART STUDY AND MODERN LIFE O you realize that art, properly related to modern life, provides the most dignified, enjoyable and lucrative profession for men and women? Do you realize that few art schools even recognize this practical side of art? If satisfactory results are what you prefer, and if you are dissatisfied where you are, you will enjoy this school. It is especially attractive to earnest, ambitious students who wish to be prepared for actual contact with the world. CLASSES IN ALL THE PRACTICAL BRANCHES Portrait Painting, Miniatures, Illustration, Commercial Drawing, Cartooning, Decora- tive Designing, Normal Art Instruction, Crafts and Applied Design. Our new catalogue free by application to Chicago Academy of Fine Arts § Madison Street, CHICAGO Secretary ADELPHI COLLEGE Lafayette Ave., Clifton and St. James Place BROOKLYN,N. Y. Art Department This Department occupies six of the largest and best ap- pointed rooms in Greater New York; two of them are sev- enty feet square and contain every requisite for the most advanced Art study. The result of its training may be seen through the work of its students in every important art exhibirion, native and foreign. Morning and Afternoon Classes Daily (Antique Still Life, Portrait and Figure), in which the best male and female models are employed. Drawing mediums are either Charcoal, Crayon, Lead Pencil or Pen and Ink. Painting in Oil, Water-Color and Pastel. Modeling in Clay and Composi- tion. Terms: Day Classes, $20.00 per ten weeks, lesson every day. Evening Classes, ondas Tuesday and Thursday; Antique Life and Sketch Classes. ” herenas .00 per ten weeks. Individual instruction only is given in all these classes. No grade work. J. B. WHITTAKER, Principal. Learn the Art of Engraving THREE OR SIX MONTHS’ COURSE ESTABLISHED 1897 WINTER ENGRAVING COPIPANY 92-98 State St., CHICAGO INSTRUCTORS IN CERAMIC DECORATION Evelyn Beachey Estella McBride SPECIAL ATTENTION GIVEN TO ORDER WORK 113 Auditorium Bldg. :: Chicago NEW YORK SCHOOL OF INDUSTRIAL ART Academic and Preparatory Department, giving full high school courses and drawing and paint- ing. Department of Industrial Art, giving full, technical courses in Wall Paper and Textile De- sign; interior Decoration, including Stained Glass and Mural Painting; Architectural Drawing and Design; Handicrafts, including Jewelry, Wood Carving and Pottery; Decorative Illustration and Advertisement Writing, Domestic Art Training, including Fashion Illustration. Normal Art De- partment, for training Teachers. Correspondence Department—Certificates and Diplomas. Fourth year begins October 1, in the new building, 343 West 57th Street, N. Y. ELISA A. SARGENT, President. Se 2 ANS SS COMMERCIAL ART Young men and women who are properly equipped with a PRACTI- (AL knowledge of commercial art find no difficulty in securing positions which pay well from the start. If You Have Average Ability Can Teach You Drawing, My long and successful experience as artist and art editor enables me to plan a course of lessons which are so arranged that by correspondence I can give a limited number of pupils A Full Year’s Art Instruction for $30.00 Hach pupil receives MY OWN per- sonal] attention, and his work is made ir cama suit his particular needs ‘Write for my illustrated book, ‘‘A NEW DOOR TO SUCCESS,” which gives full particulars. WRITE Now. GRANT E. HAMILTON, 1475 Flat Iron Bldg., N. Y. Ci Established 1868 EK. H. FRIEDRICHS Manufacturers of Artists’ Canvas, Drawing Boards, Studio Easels, emy Boards, Pastel Boards, Palettes, Panels, Acad- Artists’ Woodenware Stretchers, Importers of Schoenfeld Oil and Water Colors, Tapestry and Artists’ Materials. Large Size Mural and Decora- tors’ Canvas Always in Stock for Immediate Delivery 140 Sullivan St., New York. Factory, 136-138-140 Sullivan St. Please mention The Sketch Book when writing to advertisers. [x1x]

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THE SKETCH BOOK is China and Fine Glass Exclusive Holiday Gifts @ Gifts which have an artistic value are always appreciated by those who receive them. If, in addition to this correctness of form or design, the ar- ticle also carries a suggestion of practical worth, it will be esteemed still more highly. @ Our magnificent displays of Distinctive Gift Wares in clude an unsurpassed variety of highly artistic creations in Porcelain, Pottery, Glass and Metal, which offer unusual opportunity for the selection of appropriate Holiday Gifts. @ Visitors are cordially invited to our store. Burley & Company Exclusive Chicago Agents for Hawkes’ Cut Glass—Libbey’s Cut Glass 118 and 120 Wabash Avenue, Chicago “Triple Cut” CUT GLASS MAKES AN IDEAL HOLIDAY, WEDDING OR BIRTHDAY PRESENT “ate! OL 177 a ("4 re Py SU | D° not purchase “BARGAIN Asn. COUNTER ” so called CUT ay R40 GLASS, it is not a bargain at any price. Call at our factory and make your pur- chases direct at first cost. We are the onl and exclusive manufacturers of ‘* TRIP CUT” CUT GLASS, and can give you better value for your money than any factory in the WORLD. We are the originators of the beautiful “QUADRUPLE CUT PEARL FINISH.” Make your purchases early before the holiday rush. SEND FOR CATALOGUE “S" UNITED STATES CUT GLASS COMPANY 315 Englewood Avenue, Near Wentworth Avenue CHICAGO, ILL. [xx] Please mention The Sketch Book when writing to advertisers. Re te am tll A et A I a et ah be i A

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Art Glass and Handicraft The Jarvie Shop 638 Fine Arts Building, Chicago The Jarvie Candlesticks, t sateens. Lamp Shades and Hand- Wrought Metal Markham Pottery, Briar Cliff Fur- niture, Scovel-Butler Embroideries, Baskets, Bayberry Dips and other Arts and Crafts Work. A Portfolio may be had for the asking THIS ELECTROLIER Hanging chain Design and 24 inch Leaded Opalescent Glass, Dome Shade, with Cut Bead Fringe, Finished in Copper, Brass or Verd. $90.00 Complete Ready to Hang. $84.00 without Fringe. Other Designs Much cheaper. The effect of the Leaded Opalescent Glass Gives a Subdued Gleam of Lights through the Rainbow Hues of this exquisite Glass Im- partinga Pleasing and Most Desired Effect and Should be Used in Every Hall, Dining Room, Library and Den. Special Shades and Fix= tures Made to Order. Art Glass of all Kinds. Materials for Making Lamp Shades Sold to Amateurs. McCULLY & MILES CO. 76 Wabash Avenue, Chicago Please mention The Sketch Book when writing to advertisers. ‘THE SKETCH BOOK a\\ . . v, Hy 4+ Pee ome —— Edison Lighting Outfits — For illuminating the Xmas tree and for table decorations any time during the year. Wired complete ready for use. Attach to any lamp socket. The safest and most beautiful method of decorating. Chicago Edison Company Edison Building 139 Adams Street THE CORN EXCHANGE NATIONAL BANK OF CHICAGO Capital $3,000,000 Surplus $3,000,000 ERNEST A. HAmMILL, President CHARLES L. HUTCHINSON, Vice President CHAUNCEY J. BLAIR, Vice President D. A. MOULTON, Vice President. JOHN C. NEELY, Secretary FRANK W. SMITH, Cashier B. C. SAMMONS, Ass’t Cashier J. EDwarD Maass, Ass’t Cashier DIRECTORS CHARLES H. WACKER MARTIN A. RYERSON CHAUNCEY Jj. BLAIR EDWARD B. BUTLER CHAS. H. HULBURD CLARENCE BUCKINGHAM JOHN H. DWIGHT ISAAC G. LOMBARD WATSON F. BLAIR EDWIN G. FOREMAN CHAS. L. HUTCHINSON EDWARD A. SHEDD FREDERICK W. CROSBY ERNEST A. HAMILL FOREIGN EXCHANGE LETTERS OFCREDIT CABLE TRANSFERS f [xx]

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THE SKETCH BOOK Art Studios Che Elms F. S. WILSON, Mgr. Corner of Cornell Avenue and 53d Street, CHICAGO. Absolutely Fireproof and a bigb Class Residential hotel 150 rooms, divided in suites of two and three, including tile bath- room, electric light and tele- phone service, local and long dis- tance. Mail and elevator service day and night. The Dining-room, located on the Main Floor, is light, spacious and arranged in such a manner that the service is perfect. The Elms is modern in every respect. Located one block from the Illinois Central Railroad— 538d Street Station. Express trains to and from the city every five minutes in the morning and evening. Running time to Ran- dolph Street, 10 minutes. | Corner Cornell Avenue and e Mm SS 53d Street, CHICAGO Telephone, Hyde Park 2020 | ~ Studios for Artists @ The Studios recently occupied by the Chicago Academy of Fine Arts will be available about Sep- tember first for those desiring well-lighted, well-ap- pointed Studios, especially adapted to Artists who desire a Studio at moderate rental. : For information, apply to Henry Bosch Co. 338 Wabash Avenue — Chicago [XXII] _ Please mention The Sketch Book when writing to advertisers.

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