International studio (49.1913)

In the Galleries

Courtesy of the Ehrich Galleries
PORTRAIT OF EL CONDE DE TEPA BY GOYA


The old Spanish masters have
had a long and glorious reign in the
Ehrich Galleries, all the great paint-
ers being represented, excepting Vel-
asquez, and in his case there was a
good substitute, a picture by Mazo,
which was long catalogued as a
Velasquez, and only of recent date
has been assigned to the former.
The exhibition contains five can-
vases by El Greco, an excellent
Zurburan entitled A Saint of Se-
ville, representing a lady of the
nobility, life-size, with bowl and
towel, proceeding upon some mis-
sion of mercy. The handling of the
jewelry, the gold and pearl embroid-
ered dress is very fine. A Madonna
and Child by Luis de Morales; a
St. John by Ribera; an Assump-
tion by Gomez, and an excellent
example of Coello, remarkable for
the painting of texture, make a
goodly array. Our reproduction is
a powerful portrait by Goya of El
Conde de Tepa.
Some good decorative work by
Beatrice L. Stevens was on view
last month at the Carroll Art Gal-
leries. Among some seventy ex-
hibits, the best work, in our opinion,
is The Frog Prince, Four Ships
Sailing, and Tamlane. The artist is at her best
in grouped figures and decorative landscape. In
her nude subjects the flesh tones are not con-
vincing, while in her picture of Youth Beckon-
ing the drawing of the left leg has marred an
otherwise excellent composition. Her nursery
frieze is humorous and brightly conceived, while
the Golden Age and Drifting Leaves are clever
landscapes. Fewer exhibits would have improved
the display.
Elliott Daingerfield never painted a better can-
vas than his Genius of the Canyon, recently on
view at the galleries of Messrs. Moulton & Rick-
etts. Added to splendid color and composition,
there is haunting silence and melancholy. To the
right a fancy, aery palace, domed and pinnacled,
rises among the battlemented rocks; to the left
reclines a nude figure upon the rocks, the very
epitome of brooding silence. Away to the horizon
stretch miles of rugged canyon. The beholder
recalls Volney’s “Ruins,” for which this picture
would have formed an ideal frontispiece.

Last month saw the close of the twenty-eighth
exhibition of the Architectural League of New
York. Among nearly a thousand exhibits of
paintings and sculpture it is only possible in our
limited space to touch upon a few, very few, exam-
ples. Paul Manship had some clever work, espe-
cially The Woodland Dance, where a joyous nymph
pirouettes before a grinning centaur. Charles
Holloway’s Spirits of the Canyon is a thoughtful
composition. Joseph Lauber showed a capital
window design, with his The Good Shepherd.
William Walton, Arthur R. Willett, Louis Vaillant
Henry Reuterdahl showed some good decorative
work. A very striking composition is Taber
Sears’ Youth, the Explorer, in which three naked
youths ride together into space. Alphaeus P. Cole
had a clever panel, entitled The Picnic, also a
painting representing Dante watching the building
of the Florentine Cathedral. Robert V. V.
Sewell was represented by some excellent panels,
especially The Sirens. Poster designs by Pernes-
sin, a door-knocker design by T. Starr, six book-

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