International studio (40.1910)

In the Galleries

weather-beaten stone are composed of a thousand lit- terest must be preponderatingly centered on the
tie mirrors all flashing with the many colors of their work of the painters,
various lights.

Reverting to sculpture visitors will find that T N THE GALLERIES
R. Tait MacKenzie's portrait in low relief of Dr. S.

Weir Mitchell and other of his portraits betray the I N. E. Montross has moved his galleries
zest of the professional training which aids this JL from 372 Fifth Avenue to No. 550 Fifth Ave-
artist in his physiological vision. Chester Beach's nue, between Forty-fifth and Forty-sixth

five or six exhibits represent a talent that is advanc- streets. He opened with an exhibition of twenty-
ing probably for a wider recognition and more abun- two paintings, made up for the most part of loans
dant opportunity. The deeply studied delicacy of from the Freer collection of the National Gallery,
Bela L. Pratt's modeling was shown in the Dance Washington, and from the collection of Col. Frank
panel for the new Boston Opera House. J. Scott J. Hecker. Four artists were represented—T. W.
Hartley, Charles Grafly, Adolph A. Weinman and Dewing, A. H. Thayer, D. W. Tryon and James
Eli Harvey are represented in characteristic fashion. McNeill Whistler. Mr. Thayer's paintings were
An interesting project by A. Phimister Proctor is the three in number, and included The Monadnock,
working model for one of four colossal tigers for the which is familiar to our readers. There were also
new Piney Branch Bridge in Washington, D. C. three examples of Whistler's work. Six paintings
Among the women sculptors represented are Aba- were shown by Mr. Dewing in his characteristic
stenia St. Leger Eberle, Emily Bishop, Anna Cole- manner. Ten of Mr. Tryon's paintings were
man Ladd, Edith Woodman Burroughs, Martha shown. Earlier exhibitions at the Montross Gal-
M. Hovenden, who shows an interesting portrait in leries included a noteworthy group of paintings by
colored wax, and Olga Popoff. While the group of Mr. Eduard J. Steichen, together with some of his
sculpture as a whole was representative of only cer- photographs, among which his familiar Rodin drew
tain features of contemporary effort, the variety of renewed attention. The paintings formed an ar-
intention is noticeable, and the group deserves bet- resting group of landscapes of unusual quality,
ter attention than it is ordinarily likely to receive In addition to the exhibition of portrait busts by
from the visitor to these exhibitions, wherein the in- Courtenay Pollock, which we have already noticed,

Scott & Fowles, at

/ their galleries, 590

Fifth Avenue,
have shown re-
cently a portrait of
the Hon. Mrs.
Frederic Keppel.

__IffiSfMBftfiUifii byHoppner. Mrs.

WSBB^^&^^^^SSS^SSi^^S^^^^^^^^tS^^S^^A Keppel was a niece

0f Horace Wal
H pole, a sister of the

- ** Duchess of Glou-

,:.•^gBEBfc^fcfc-iMhwdl^ j^SP^BS^BEgMl^BBI^HBi^B'' ■ cester, whose por-

BteMfc^?^^^*a«Bfc "wP^Sk^^' ^vKSSWt^Kr' jJSajl tra^ ^ Gainsbor-

f /9j>^,^■'-r*™9 "^Kj^^fcK^ ^tW»J*W51^ ough is one of the

J| ■^t^H^R5'» c_ _.^gSK treasures of the

"^B^ * Taft Collection,

and was the wife

jpPH^^^ tjj^ 01 the Bishop of

HBL the Gainsborough

> portrait, in which

^V^Hw the sitter rejoiced

in a high-erected

Courtesy oj C.W. Kraushaar Coiffure, the sitter

the coast or brittany by j. m'neill whistler here wore her hair

xxiv