International studio (34.1908)

In the Galleries


Courtesy of The Tooth Galleries
LA LINGERIE BY JOSEPH BAIL

does not convey the richness of tone and the mellow
feeling the man gets invariably. In these Fifth
Avenue galleries of the Messrs. Tooth, who have
also shops both in London and Paris, one may see
much of contemporaneous British art, as well as
that of France and Holland, and now and then an
old master, generally of the Georgian period and
in the nature of a portrait. The English public is
loyal to its painters, buying freely, so it infrequently
occurs that their canvases get over the water. At
present there may be seen here a cattle piece by the
veteran Cooper, and Leader contributes landscapes,
while Mrs. Alma-Tadema has a genre or two. Of
Dutch water-colors and oils there is a large choice,
and other works are by the Belgian, Clays, the cat-
tle painter, Van Marcke, the landscapist, Cazin,
and the Frenchman, Rovbet, whose cavaliers in
these days enjoy a great vogue.
Color printing seems to advance by leaps and
bounds and now that the publishers get so much
out of the three-color processes, the possibilities
seem unlimited. Some interesting developments in


BY MARTIN SCHONGAUER

ered, yet they are as fresh, as clear and in as perfect
•condition as if they had come last week from the
press. One can readily understand how it was that
his contemporaries called him “Martin, the beauti-
ful.” His earliest plates date from 1465, and he was
fairly prolific, producing many designs, largely of a
deeply religious character, full of sentiment, of de-
votion, of sincerity, and always with artistic in-
stinct. There are quaint Virgins, there are battle
pieces, and there is apparently no end to the man’s
invention, always with charm of drawing, with di-
rectness of line, and with a capable hand. A pupil
of Roger van der Weyden, his painting, Virgin of the
Rose Garden, is in the museum at Colmar, his native
town, and there is a work attributed with a consider-
able show of reasonableness to him, at the National
Gallery, in London, which is called The Death of
the Virgin. Furthermore, he was the master of
Albrecht Diirer, which in itself is fame enough for
any man.

Much of the quality of the little Dutch masters
■does the Frenchman, Joseph Bail, get in his pic-
tures of interiors and the simple life of the religious
sisterhood whom he paints assiduously. He has
been a popular man with collectors these many
years, and the present illustration, from the collec-
tion of Arthur Tooth & Sons, 299 Fifth Avenue, Courtesy of Wunderlich hr Co
gives a very fair idea of his compositions, though it annunciation

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