International studio (45.1912)

In the Galleries

Courtesy of the Folsom Galleries


MME. MAZARIN
AS “ELECTRA”

BY MAURICE
FROMKES

stood that several important “one-man” shows
will occupy the galleries, including collections of
paintings by Frieseke, Arthur B. Davies, Emil
Carlson and, possibly, Cecilia Beaux, with a
promise of an Elihu Vedder show.
At the Ehrich Galleries, characterized, as usual,
by their collection of selected old masters, it is
interesting to note and illustrate a very important
painting by Murillo—a Portrait of an Unknown
Man—recently acquired by Mr. H. L. Ehrich in
Europe and bought by Sir William Van Horn, of
Montreal. It is a canvas of marvelous warmth
and depth—a human document of the character
and personality of its unknown subject.
The galleries of Victor G. Fischer, hung at
present with a very interesting collection of eight-
eenth century English paintings, contain several
rather unusual canvases. Among these should-be
noted several excellent Raeburns, that great rarity
—a landscape by Sir Joshua Reynolds—and, rarest
of all, an important Turner, “listed and en-
LII

graved,” Oxford from Abingdon Road, 1818, for-
merly owned by Sir John Fowler.
As was announced last month the Berlin Galler-
ies through November exhibited a remarkable
collection of paintings, drawings and lithographs
by Will Rothenstein. This work, particularly the
paintings, possesses a curious “transatlantic”
quality very difficult to describe—one could never
imagine it as the work of an American. The
paintings, landscapes and portraits are definite,
yet vague, literal yet mystic, of a quality resem-
bling, if anything, the paintings of James Pryde
and William Nicholson in England. To those
who are not familiar with the genius of Rothen-
stein (as, indeed, few Americans are), this exhibi-
tion should be a revelation and a sensation. At
the close of this exhibition the collection of origi-
nal drawings by Aubrey Beardsley will be rehung
for one week, to give place in their turn to an exhi-
bition of the work of Charles Conder, a European
painter of no less individuality and genius than
Will Rothenstein.
The new galleries of Moulton & Ricketts an-
nounce an exhibition of the recent works of those
five men who became known as the “Canon
Painters” from their joint visit to the great Colo-
rado Canon—Daingerfield, Potthast, Parshall,
F. Ballard Williams and Moran. The galleries show
at present an interesting collection of the work of a
new but promising etcher—Albany E. Howarth.
At the Montross Galleries the exhibition of an-
cient Chinese paintings, dating from 1368 to 1766,
will continue through November, to be followed
by an exhibition of the work of Robert Reid. The
showing of the early Chinese paintings is an event
of unique interest among the fall exhibitions, and
should not escape the attention of any lovers of
Oriental art.
At the date of going to press the new galleries of
Knoedler & Co. were still in such a state of incom-
pletion that no definite announcements as to
special exhibitions were being issued, though the
formal opening of the new building should not take
place later than the first of December.
Louis Katz is to open “The Thumb-Box Sketch
Exhibition” on November 27, to run until De-
cember 16. The contributors, about 150 in number,
including all the best-known names among con-
temporary painters, will show about 700 “Thumb-
Box Sketches.” These galleries were occupied
from the nth of- October to the 30th of No-
vember with a remarkable exhibition of the recent
paintings of Martha Walter, that interpreter of
the most joyous side of child nature.