OCT 99

0 109K




WILLIAM HOGARTH This fine work, the property of Mr. James Carstairs, will be included in the loan exhibition of Hogarth’s works opening at the Knoedler Galleries, New York, on November 11th.

OCTOBER 26, 1935



VE the e have rope Rotte and doubt

impa tion more Petit from vante looke natio quent en th Lo “HER GOLDEN DAYS” By HOVSEP PUSHMAN wad ment

Her Golden Days has recently been completed. It has never been placed on exhibition since . . 4 : : +E tes . +. s

and will be included in Mr. Pushman’s one-man exhibition opening at the Fifth Avenue " ; Galleries of the Grand Central Art Galleries, 1 East 51st Street, New York City. on hibit November 4th. pictu ment skelt

4 - Pala EXHIBITIONS ale each sing] ture visit

Bu Until Oct. 30th Watercolors and graphics by Saul Raskin. mere


15 Vanderbilt Avenue

Until Nov. Is! Group of etchings of trees, and Charleston, co

by Alfred Hutty, especially assembled by be h hanc the | in fi

Nov. 11th to 16th The work of the Return Fellows of the oe

American Academy in Rome. eee caus port } facil “if ; y . j even kifth Avenue Galleries he ; i Visit and wert : unit Nov. 14th to 30th Portraits by Howard Chandler Christy. inves s mus hap: T hug 3 (agai


the artist.

Evening of Nov. 14th Annual Drawing of Founders’ Show.

Nov. 4th to 16th Paintings by Hovep Pushman.




; best

5 VANDE tT AVENUE . FIFTH AVENUE at 5lst STREET we of 5 pres bac hib!

Grand Central Terminal Former Union Club Building


see] ers,

The ART NEWS is published weekly from October to middle of June, monthly during Juiy, August and September by the Art VoLuME XXXIV News, Inc.. 20 Eést 57th Street, New York, N. Y. Subscription. $7.00 per year, 25 cents a copy. Canadian and Foreign subscription MBER 4 $8.00. Entered as second-class matter, February 5, 1909. at the Post Office, New York City, under the act of March 3, 1879. NuMB




The Arrangement Heightens Value Of Titian Show

Despite a Number of Omissions Magnificent Venice Exhibit Gives Splendid Opportunity to Study Master’s Art

By Dr. ALFRED M. FRANKFURTER VENICE.—The Mostra di Tiziano the eight

of great art exhibitions which have this year dotted the map of Eu- at Paris, Rotterdam, and

rope Brussels, Parma, Rimini think without

doubt, an impression second only to the

Bologna, Venice—leaves, I impact of the colossal Italian manifesta- tion at The Titian exhibition, moreover, has the advantage over the Petit


Palais show of remaining open

from April through November—an ad- vantage of a sort all too often over-

looked by the organizers of huge inter-

national loan exhibitions whose fre- quent brief duration does much to less- en their accessibility.

Longer life, however, is not the only,

Amsterdam, |

nor the chief advantage of the Venice |

over the Paris show. It is the arrange- ment, lucid and splendid to an extent unsurpassed if approached by any ex

hibition I have seen, which gives the

pictures on the Grand Canal so vehe- |

ment a contrast to the crowded, helter- skelter placement one saw at the Petit Palais. At Venice, spacious rooms of the Palazzo Pesaro, each visitor

can say, at

in the magnificently |

the end of a|

single tour, that he has seen each pic- |

ture—which I rather

visitor said in Paris.

doubt that any

But there was a great deal more than merely seeing the pictures in Venice, and if American museum officials are to draw critical about the paintings themselves, it is to

lessons beyond ones

be hoped that these will comprise the | handsome placing and illumination of |

the Titian exhibition. The lessons are, in fact, quite simple. The directors of the exhibition, at the start, arbitrarily limited the quantity of pictures to one hundred—a premise which, if it did cause the omission of a number of im- portant works, was based on the actual facilities of the Palazzo Pesaro. And even though there were serious gaps, these were the less conspicuous for the visitor’s ability to inspect, unhampered and untrammeled, the pictures which were present—each one as a separate unit, never more than six or eight pic tures in a room in which the average museum or exhibition would house per: haps forty.

The larger paintings, including the huge religious works, were hung against the wall, always to form a vista at the end of a room as one entered it. The smaller works, for the most pari portraits, were arranged on easels throughout the exhibition, their posi- tion adjusted to catch the light to the best advantage in each case. Fixed to their easels, provided for the occasion with solid bases, the magnificent series of portraits made an unforgettable im- pression against the equally imposing background of the Ca’ Pesaro—this ex hibiting of figure pieces on easels at eye level being an idea which I have seen in practice hitherto only at deal- ers, and which, I hope, will now find

(Continued on page 13)


Established 1902 S. W. Frankel, President



This canvas is included in the exhibition of the artist’s work which is now on view at the Durand-Ruel Galleries.


Monet’s Development Seen in Exhibit at Durand-Ruel’s

Thirteen paintings of Claude Monet | masterpieces in their own right they

at the Durand-Ruel Galleries illumine certain phases of the artist’s develop- ment only touched upon in a group demonstration of XIXth century mas- terpieces. Monet’s relationship with the whole development of the century, complex as it is,.is frequently suggested. Few of that extraordinary group of artists who revolutionized the course of painting escaped his influence. Here is the main stream which fed not only Renoir, Sisley, Pissarro, but Seurat and the pointillistes, Cézanne, and even Vuillard and Bonnard.

The earliest painting in the present |

show, the “Hyde Park, London,” of 1870, testifies alike to the charms which the English scene exerted on the artist and the influence of his early friend- ship with Boudin and Jongkind. Paint- ings of this type are rarely to be found in New York exhibitions. While not


contribute immensely to the under-

standing of the elements which go to

jereate masterpieces, and are _ there- fore indispensable to true apprecia- tion. The general habit of confining

exhibitions to the world-accepted mas- terpieces of a painter’s classic period leads to the substitution of blind ac- ceptance for the equally rigid rejection that preceded it. Current opinion ob- scures the perspective needed to enjoy a true proportion just and

as time

inature will obscure the whole face of


a once familiar scene. A sharp re- minder of this fact was afforded in the present exhibition when a man who has followed the vagaries of the mod- ern movement for many years re- marked, looking at the famous “Maison Bleue” of 1873, “Monet is an old master today. But I remember the time when everyone exclaimed at that color run

riot...” What better reminder could |we have of the radical nature of the most innocent of Monet’s painting? This quiet picture, which if done today would be acclaimed as the most per- | fect expression of the modern feeling, free from any shadow of an “ism shocked Parisian contemporaries when it appeared in the famous exhibition |of Painters, Sculptors and Engravers }in 1874.

| “Canotiers & Argenteuils,” painted in | 1875, familiar to us from the interesting | show held last season at the Museum }of Fine Arts, Boston, links Monet with what was to be his peculiar study, that of light. This particular composition is also associated with his friendship with Renoir who, it will be remem- bered, painted precisely the same | scene, with Monet himself on the dock

(Continued on page 4)


S. W. Frankel Passes Away | At Fifty-Nine

Notable Career of Fifteen Years As Publisher of The Art News And Its Many Supplements Is Ended by Pneumonia

Mr. S. W. Frankel, publisher of Tar | Art News, died of double pneumonia on Tuesday, October 22. He was on the eve of his sixtieth birthday and un- til early in September, when he sud- denly suffered a breakdown in health, his long career had been marked by unflagging enterprise and activity. As publisher of the only weekly art maga- zine which has an international circu- lation, Mr. Frankel will be greatly missed by friends throughout Europe and America. He was known not only to art dealers in all parts of the world, but also to museum directors, collectors, scholars and artists. The inherent sim- plicity of his nature, his warm personal feeling for all those with whom he came in contact, and the native brilliance and flashing quality of his mind, all com- bined to create a strong and vital per- sonality that left a deep impression upon all who knew him. Another phase of his character, his dynamic energy, was revealed at its height only last Fall when by conceiving and carrying through the great Fine Arts Exposition at Rockefeller Center, a standard of almost unbelievable perfection in the display of antiques in period settings, was achieved under his direction.

Mr. Frankel purchased Tue ArT News at the death of James Bliss Townsend in the Spring of 1921. At that time, it was a small eight-page paper devoted almost entirely to short news stories and brief critical notices of exhibitions. With the change of ownership, modest plans for a gradual increase in size and scope were set forth together with the promise of new features for the future. The many who have been subscribers and readers of Tue Art News during the past fif- teen years will recall how this early hope and promise were realized be- yond expectation. By the Fall of 1925 the paper had expanded into a sixteen- page journal with numerous illustra- tions and special stories on important events.

During the next seven years, its continuously broadened scope and re- markable increase in size revealed the fulfillment possible to an art paper de- signed to appeal to a wide audience. Through Mr. Frankel’s initiative and vision, THe Art News expanded to thirty-four pages in 1929 and enlisted the attention of the international art world. He thus achieved a definite contribution to American journalism, through bringing dignity of presenta- tion and balanced emphases to a field where only monthly art publications had felt it necessary to maintain such standards. One of the most valuable features evolved by Mr. Frankel was the unique combination of critical com- ment on current events, news in the museum and collecting worlds, and complete sales prices obtained in im- portant foreign and American dis- persals. Incorporated in the only Eng- lish weekly devoted to art, such ma-

(Continued on page 12)

4 The ArT News

Saturday, October 26, 1935 Sat = ; Antique Dealers ‘Bust of Henry VII Ga: y . Report Good Sales Has Been Acquired s . . - In London Fair By English Nation k gown = og sored LONDON,—“The most important of Gas ‘air which opened at Grosvenor House See eet eS eae sculp'! in London on September 27 is far more recent acquisitions to the Victoria and sculp ambitious in scope than that held last Albert Museum is a magnificent bust of ures year. It covers double the floor space Henry VII, in painted terra cotta, pur- tober of the 1934 show and has more than chased by the John Webb Trust,” we chais' one hundred stands. However, primary learn from an article in a recent issue found consideration is, as before, being given of the London Morning Post. Details ii to the needs and tastes of collectors of of the acquisition are reprinted here- and 1} moderate means. with: and, ¢ English furniture in selected exam “The work is one of three busts, the left t ples ranging from the XVIth to the |}two others (both in a private collec- his W XIXth century is naturally a major tion) representing Henry VIII as a Nagle feature of the display and allows the | beardless boy about eighteen years of mode visitor to survey historical styles and

age, and one who may have been the Bo


Dr. Gabriel Wells has recently re- turned to New York with the original manuscript of T. E. Lawrence’s report on the Arab case which he supplied to the American Delegation to the Peace Conference in January, 1919. The man- uscript gives on twelve quarto pages a clear and detailed account of the Arab revolt. Dr. Wells also possesses the en- velope in which Lawrence dispatched the report to a miliary member of the American Delegation. The existence of this account has been known for some time, but it remained for Dr. Wells to

discover its owner and make the pur- chase,












a great variety of craftsmanship in | recently canonized St. John Fisher. cabin various woods. The Chippendale group All were engraved and published by Bern: is especially fine, one of the outstanding : 3 J. T. Smith in his Antiquities of West- tiona pieces being a pagoda dressing table | minster in 1807. in Be which anticipates certain features of st | “According to the story repeated by —¥ the Sheraton style. A pair of W iNiam Sa Smith, the busts were purchased by an ann Kent commodes from Rokeby Castle = ta | ancestor of the then owner about 1769 wi and an exquisite bonheur de jour, once pn from an old iron dealer, who said they her in the Alfred de Rothschild collection, i. had been removed from the ‘Holbein’ P “00 are other outstanding pieces which are ~ a Gateway at Whitehall, which was de- or hi: of oe quality. : stroyed about that time. Kitsc Nelson and Lady Hamilton are never | “Smith mistakenly assumed that first far from any antique show. Here they | these busts were the terra cotta roun- hum: are recalled by a pair of Sheraton satin- dels known to have been on the face of basis wood side tables, with Cupid designs, the gate, but they may have come from tivity made to Nelson’s order for Lady Ham- a room or hall inside. Smith also went ilton. Other examples of English work- records that the buyer employed John deco = _ the of —_ II Flaxman, the sculptor, then a boy about fruit wainut chairs and sola, some Queen ke . i sixteen, to repair the busts, in which on \ Anne needlework stools and a sixteen- LA MAISON BLEUE” (1873) By MONET case the coals (riflers) used in the life foot heraldic doorway of carved pine- This canvas is included in the exhibition of the artist’s work now on view at the Durand-Ruel Galleries. plaster repair must have belonged to was wood from the London house of the . him. In Earl of Rochford, built in 1720. | , . ns “It is not known for certain who he e The exhibits show a wide variety.| MIQnet’s Development Seen in Exhibit at Durand-Ruel’s | mace tnese pusts, but in ait probapite cay One stand is a vast Tudor refectory | ty they were executed by an Italian he w table; on another are tiny dolls’ tea | —— ~ : —————— _ icant _— | working in England, between 1508 and 7: sets in filagree silver. Near a unique (Continued from page 3) |1512, though whether before the death 0 A. collection of “treen” wooden ornaments | ; which the Eastern artist creates out | the sun, in which there float and inter-| of Henry VII in 1509 cannot be said man and domestic utensils of the XVIth and | of varied tones of ink brushed on a| mingle the subtlest and most delicious | with assurance. at tl XVIIth centuries is a set of ivory chess-| holding down the boom. Another in-| subtly tinted piece of silk. | nuances, warp and woof of softly melt- “The style of this bust bears an un- a men carved in Delhi for the Begum teresting association which this pic- | In another historic show held at the | ing hues, shimmerings, efflorescences, mistakable resemblance to Torrigiano’s voll Samru. Comparatively inexpensive | , a _|Durand-Ruel Galleries appeared the| airy as petal dust, delicate as bloom | work, . , . rw Chelsea porcelains are contrasted with | Ure recalls is that with the elder|«peypliers au Bord de l’Epte,” in sub-| of butterflies’ wings, ethereal visions| ,, ; > ; hi VIIth century Chinese pottery and with | Durand-Ruel, who in 1876 showed in| ject and treatment much more what | captured and harvested by a magician’s | _ But, oe Mr. heat - Bedfor a says, the a a florid gold enameled cup attributed | his gallery in Paris a number of Monet's | we have learned to demand of a Monet | eye. . . . It calls to memory the poems | ers Tae a to an ae 9 » be to Cellini and valued at £30,000. The paintings of Argenteuil |and made doubly familiar by Sisley’s| of Edgar Allan Poe, the music of De- pone se J] te ty ~s Roeser of & oO ionn Fair includes all kinds of household | Pits z , icharming variations on the theme.) bussy.” The twenty “Cathedrales,” the positive assertion. many paint the bust al accessories, from Georgian china and Again there is nothing startling to| what could be more in the spirit of| writer continues, “should have been | ws of the first Importance in the teed Irish glass to XVIIth century silver and | Our eyes in the “Gare St. Lazare,” un-| the immortal lines of the English poet | presented collectively to posterity, so | history of art = England - an un- pub! English pewter. doubtedly one of the series shown in|than this delicate evocation in paint | that we might note the shadows of the | doubted ad century portrait of the first The most unique item of the Fair is|1877. But at that time such a theme |°f the “whispering sound of the cool | sequent hours moving noiselessly over Pe :; port inlaid { hi 'colonnade.” their changeless fronts, as we may do| “The powerful face is splendidly * the tiny silver ball inlaid in gold which | as a railway station aroused the ire of race | with the ‘Nesanheas’” . | modeled, and the painting is sensitive all a high authority declares to be Hittite sie wien eattiied Che Goalie end ? One of the greatest works on view with the “Nympheas. from iis pe . of p work of about 1900 B.C. recently ex-|% W20 Valued the dignity and honor | ;j, undoubtedly one of the daring| One of this famous series, the “Bassin | @"@ Sure. of s cavated from a tomb in Anatolia, ex-|0f art. True, Turner had painted a|“Cathedrale” series. This may not )aux Nympheas,” of 1899 is included in “The color and gold-gilt have lost Alfr hibited by Messrs. Spink. An odd ex-|similar subject, but after all, an artist |seem so daring in 1935, when for years |the current show—a “poem of flowers | much of their original brilliance, but sho’ hibit is a set of Chinese altar figures|of his reputation was allowed privi-|W® have been accustomed to both |and waves,” and a fitting conclusion to | on the whole, the bust is in remark- mu in pewter and lacquer, portraying leges photographs and paintings of gigantic | an interesting survey.—L. E. able condition. ... Yor French or English late XVIIIth century te Ae masses of sculptured stone, seen al- Eee ae ae Sat low men in broad-brimmed hats, knee “L’Eglise de Varengeville” and “La|most without perspective from the | sho breeches and white stockings. As they |Seine prés Vernon,” painted in 1882 ground upwards and filling the whole of ing are evidently designed from pictures of | and 1883 respectively, are again not |*he canvas. But in 1894 it was an) ~~ the period, experts surmise that some | ¢\ pica) of the Monet ee 1 in | 2mazing feat. Not even today, with | T English lord commissioned the figures | **?'C®' OF “© Monet usually found im | all our assured freedom and technical LONDON BOSTON CHICAGO was to be made by a Chinese artist for | ©*hibitions. Both are very lovely, and | advances, could we duplicate the mar- whi a present to a Chinese friend. Another | reveal the true spirit of Eastern art | Vvelous painting of those layers of at- OSAKA PEIPING him curious exhibit is a half-sized wooden | as assimilated by the artist much more eos ype ee ge nea , vwew _ ee ee ee ne than the superficial claims of the ry Mae iy Ee his and plumed bonnet, but carrying what |J®Panese lady with fans, done some | Camille Mauclair has put into words sta’ looks like a cricket bat under his arm. | Six or seven years earlier. Here is the in inimitable fashion, the effect of WO R KS O F A R ea The Duke of Kent opened the sale, | Eastern feeling for nature expressed these cconmigeery oe he agg “4 [ = paying tribute to the long British tra-| not through any scientific system of “a vstetent Yien Matalin at ee ste ag ra fine oe appreciation color contrasts, but by tonal values miracle of the Gothic spirit, ies Cathe- FROM seu et tet aoe. as Whee natin |swept onto canvas not only by the dral of Rouen, are merely suggested a From the opening, sales were heavy. presh and the eye and the brain as and synthetized (yet ever with a T H E FAR EAST on Within twenty-four hours, the bataidie Signac puts it, but revealing in each scrupulous precision of design, of ad- ~~ ' doorway of the Earl of Rochford had stroke the accumulated vision of a justment, of construction and sensi- =e Hy been acquired by the Victoria and Al- creative artist. The light, too, is not tive regard for volumes and densi- it bert Museum. Wedding presents for the perpetual afternoon of the academic ties) and in which the fane itself ult iH the Duke of Gloucester and his bride ange = yet Meghan hour of always apeents oe —" yg Ma Be Matiety eee atoe. Ge ean |, "ben, osu: Cocided to vate [and adorable image nalraisden ty SCULPTURE PAINTINGS BRONZES : TS ape pel gee AM | : other exhibitors re- = OO —— = ar i ported sales of £4,000 and £5,000 in PORCELAINS POTTERIES A i value. The total takings of the first oe two days exceeded £50,000. JADES pr wi gre r LAWRENCE MS. el




ant of

la and ust of a, pur- t,” we - issue Jetails - here-

ts, the collec-

as a ars of en the Fisher. led by West-

ted by | by an it 1769 id they olbein’ vas de-

1 that a roun- face of ie from h also d John y about which in the ized to

in who obabili- Italian 908 and e death be said

an un- igiano’s

iys, the horship fa too ‘the bust > in the an un- t of the

lendidly ensitive

uve lost ice, but


Sl nae ai TE IIS


Fae Oi

Saturday, October 26, 1935

Gaston Lachaise, Noted Sculptor, Dies at Fifty-two

Gaston Lachaise, Franco-American sculptor noted for his heroic nude fig- ures of men and women, died on Oc- tober 18, after a short illness. Mr. La- chaise, a naturalized American citizen, found in his adopted country a vigor and life which he felt lacking in France, and, after his arrival here in 1906, never left this continent. He is survived by his wife, the former Mrs. Isabel Dutaud Nagle, who has frequently acted as his | model.

Born in Paris in 1882, the son of a cabinet maker, he studied at the Ecole Bernard Palissy and the Academic Na: | tionale des Beaux-Arts. When he landed | in Boston in 1906, he had thirty dollars in his pockets, no knowledge of English and no prospects. After a few weeks’ work with a commercial artist, he was | engaged by Henry Hudson Kitson, com- pleting details on war memorials and equestrian statues and doing little work | of his own. It was not until he followed | Kitson to New York in 1912, that he| first felt the impulse to model the smal] | human figures which were to be the| basis of his subsequent sculptural ac- | tivity. Lacking means of support, he went to work for Paul Manship, doing decorative arrangements of leaves and fruit, while at night, in a small studio on Washington Square, he began his life size “Standing Woman” which was to take him ten years to complete.

In 1918, in the famous Armory Show, he exhibited his first piece of work, a clay figure of a woman. At that time, he was starting to work intensively on his own productions, including a series of statuettes and the “Standing Wo- man,” planning to hold an exhibition at the Bourgeois Galleries. This show was postponed, because of the war, un-

j C . , > a ¢ “acte 3 » ¢ > . : ~ : : til 1918 when he attracted some atten-| gnest of these is the Spanish dalmatic

ion and sold two pieces. In spite of the fact that he was still working for Man- ship, he managed to produce enough original work to hold a second exhibi- tion two years later. When The Dial was reorganized in 1919, Lachaise worked for it as an illustrator and his work was frequently reproduced in the publication. It was this magazine which first brought him to the notice of im- portant artists and critics and to A. E. Gallatin who, in 1924, published a book of plates of his work and a check list of sculptures so far achieved. In 1927, Alfred Stieglitz gave him a one-man show at his Intimate Gallery and did much to aid the sculptor in the New York art world. Joseph Brummer fol- lowed this by a retrospective one-man show the next year where the “Stand- ing Woman” was finally shown in bronze.

The culmination of his life’s work was the large retrospective exhibition which the Museum of Modern Art gave him in February, 1935. It is seldom that an artist receives an exhibition of this sort while he is alive and seldom that his works, seen as a whole, can with- Stand the criticism leveled at them. Lachaise, however, emerged from the exhibition as one of the most impor- tant sculptors of his time. Lincoln Kir- stein has written of him, in the Mu- Seum of Modern Art’s catalog of the show, that, “the magnitude of his achievement is not readily grasped, and

led silk, Mr. | points out in his article, is unpublished

Louis XVI style with such un- usual motives as richly plumed birds land a bird cage figuring in the de- sign. The pattern follows that of a

this for no superficial reason. In ‘his work there is a concentrated dynamism Which is so intense that it repels while It attracts. His subject matter is not ultimately men and women, not even Man and Woman. His subject matter Is the glorification, revivification and amplification of the human body; its articulate structure clothed in flesh. tae Lachaise, above all other sculptors Since the Renaissance, is the inter- preter of maturity. He is concerned with forms which have completed their growth, which have achieved their Prime; forms, he would say, in the glory of their fulfillment.”

(Courtesy of the


This fine example is among the recent accessions of the Metropolitan


Accessions at

VU etrop

nlitan Museum of

The Art News



of Art.


The Museum cently purchased several unusual Eu- ropean woven

Metropolitan has re- fabrics, embroideries | and costumes dating from the XVIth

to the XIXth century. Probably the

of green and yellow silk brocaded in gold which we illustrate. Though strik- ingly handsome and highly character- istic of the Spanish Renaissance, it is less rich than the Italian weaves of the same period. The design of the brocad- John Goldsmith Phillips

and may therefore be unique. It con- sists principally of a repeat of vase, fruit and leaf forms inspired by Italian models combined with floral patterns of Chinese origin. The brocade has the appearance of a cloth of gold through skillful interweaving of thin metal threads with gold yellow silk. The crosses on the yoke would indicate that the vestment was worn in a pri- ory of the military religious order of the Knights of Malta.

Also of special interest is a long strip of French brochée silk in the late

sketch by Dugoure for a panel and the silk was woven about 1790 in Lyon under the direction of Camille Pernon. Many of the most exquisite French silks of the X VIIIth century came from these looms.

Slightly later in period is a woman’s costume made in France in 1803 dur- ing the period ot the Consulate. The dress shows an interesting point of transition between the styles of the late XVIIIth century and the Empire fashions which were soon to follow. Its grace and elegance make it a pleasing addition to the growing collection of costumes.

| by the Museum in the technique called |chine a la

French or Italian chasuble, of about 1750, embroidered in the rococo style with floral motives; a long panel of French silk, the first example acquired

branche and several exam- ples of woven fabrics and embroideries of the late XVIIIth and early XIXth centuries, each one of which has some interesting aspect.

Through bequest from Charles Noé Daly the Museum has received five noteworthy firearms—a French dou- ble-barrel fowling piece of the late XVIIIth century, a pistol of Lord Nel- son’s (1758-1805), a pair of pistols owned by George IV as Prince of Wales (1762-1830), and a French percussion pistol dating from about 1856. All these objects show distinct mechanisms and are splendid examples of craftsman- ship.

Through the generosity of Edward C. Moore, Jr., the Museum has been enabled to build up a collection of modern decorative arts, including a group of glass illustrative of the prin- cipal styles and techniques developed in the last thirty-five years. We quote below excerpts from C. Louise Avery’s description of these pieces in the cur- rent Bulletin:

“Until now American crystal has not been represented in the collection. Fortunately, four excellent pieces of Steuben glass, designed by Sidney B. Waugh, have recently come to fill this deficiency. One of these is a large, shallow bowl] of brilliant crystal, round the margin of which the signs of the zodiac swirl as though they were wheeling in celestrial space... .

“A massive bowl of crystal, resting upon a four-part support, bears round its sides a frieze of leaping gazelles.

“Another piece particularly satisfy- ing in its form is a vase having as its sole decoration the stylized symbol of the Agnus Dei.

“The glass which is probably the most interesting in the present group is a large vase of brilliant and resonant crystal. ... The design is of definitely architectural character and the piece achieves its dignity and impressive- ness solely from the pure quality of

Other interesting textiles include a the crystal.”



Established 1876




LONDON, W.1 Cables: ‘‘Finart, London.”



Thomas Hart Benton Russell Barnett Aitken

John Steuart Curry Grant Wood

Doris Lee

David McCosh Other Americans





OLD AND MODERN PAINTINGS Featuring English Portraits and Landscapes















le A OI

<a STR et e Ramn— te RE

Exhibitions in

New York


Rehn Galleries Contemporaneous with his receipt of the second prize at the Carnegie Inter- | national is the exhibition of nine recent | watercolors by Burchfield Judging from the photograph of the prize-winner, most of the pictures in


the Rehn Galleries’ show are superior to “The Shed in the Swamp.” In the usual Burchfield mood is “Black Iron,” an imposing watercolor of a waste land dredge. The huge machine is built | up out of a hundred different tones of black and white and gray. The structure is solid, the mood menacing. “Red Barn,” illustrated here, is conceived in | a different spirit. The orange walls of the building reflect the sun; unmodu- lated shadows bathe the scene in still- ness. The picture is dominated by sun- | light and silence, yet each part of it is| full of character. Burchfield has the | ability to endow inanimate objects with | life. The barn is solid on its founda- tions and somehow meaningful, the | twisted telegraph pole, a fantastic and | slightly sinister shape. The artist’s| imagination comes out most clearly in| “The Star” and in “Rain and Wind} Thru the Trees.” In the former the} effect is gained through the lighting, | with the dark masses of houses and trees silhouetted against the lighter sky. The latter is full of the motion of |

windswept branches, the color echoing |

the storm mood. In all of the colors, Burchfield has built up some-

j thing solid, wielding the medium as if | are familiar to all gallery-goers. Marin’s |

it were oil.

Constantine Pougialis, a young Greek artist who is working in Chi- cago, is exhibiting his oils and water- colors in his first New York one-man show in another room at the Rehn Gal- leries. Although showing unmistakable derivations from Cezanne and Derain in some of his landscapes and a hint of Picasso in his “Blue Room,” he has

ability to construct figures and scenes |

and the beginnings of a romantic color sense. His effects are much more self- conscious than those of his co-ex- hibitor, for where Burchfield creates simply and directly from what he sees, Pougialis strives to organize his mate- rial into new forms. “Blue Room,” the winner of the Brower prize at the Art Institute of Chicago, is an experiment

in composition which is successful in | show are Nicolai Cikovsky’s ‘““No Jobs” |

evoking space and solidity.—D. D.

water- |

|coloring to

The ArT NEws



' i i


my arate

VA a

7 Hy} oe



Included in the exhibition of watercolors by the artist now on view at the Rehn Galleries.

GROUP | Jobs” is a waterfront scene made mem- orable by the quiet desperation of the foreground figure and the listless, tired

| attitudes of those in the middle ground.

Space relations are carefully worked out through color and forms;


Downtown Galleries

The eleven painters and sculptors

diminution of who are represented in the Downtown

Gallery's first exhibition of the season | almost rocklike, and the artist’s fuzzy brush stroke adds a glow to the color “Girl Thinking,” }and strong, combining Kuniyoshi’'s del- piest adventure in this medium yet it| jcate line with broad applications of The relaxed attitude of the girl, The | the radiant whites of her chemise and jagged lines of trees and waves and|C@P, and the make of the painting. Alexander

“un Slit 8 : . masses. too, is fine Cape Split,” in oils, is not his hap-

retains enough of his usual form and | paint.

remain impressive. shimmering flesh whole a


solid, luminous

coast create a rhythmical unity and a whole small world is telescoped into a few square feet of canvas. Fiene, too, has rendered “After the Blizzard” more successfully in his lithograph, “Con- necticut, Winter.” Here the pattern is flat and the blacks and whites less luminous than in the print.

Brook’s “Bacchante” is in his usual competent manner but his

Other artists represented in the exhi- bition are Georgia O’Keeffe, with the

| William Zorach (a handsomely carved The most interesting pictures in the

“Portrait of My Daughter’), Robert Laurent, Anne Goldthwaite, Karfiol, 'and Kuniyoshi’s “Girl Thinking.” “No | and Sheeler.—D. D.

the forms themselves are firm, |

| entirely abstract; instead, they are in- | tribesmen

conception is over-sweet, rather insipid. |

familiar spotless hills of “New Mexico,” | is never realistic. The majority of the

Saturday, October 26, 1935

ground” might have been done by Joan

Miro. In color, too, the textiles are subtle, using, instead of the broad. bright color masses which might be

expected, blends of tone, lovely pinks, rose, and blues, as in No. 24, “Figures and small animals.”

The few examples of sculpture are disappointing. Except for “Ceremonia] Oar” with its lovingly carved proces- sion of birds, none of the work reflects sculpture. The pottery, too, is chiefly the high development of African negro interesting as an