International studio (49.1913)

In the Galleries

plates by A. N. Macdonald warrant special men-
tion. The water-color work of E. I. Williams was
notable, especially his Restoration Plans of the
House of Vestals, Rome, and his Elevation of Isola
Bella. Grosvenor Atterbury and J. A. Tompkins,
Associated, showed excellent work in their Station
Square Tower. The Victor, by E. H. Blashfield, is
a splendid decoration. The Cathedral of the Incar-
nation, Baltimore, Md., planned by Cram, Good-
hue & Ferguson, reveals the best of architectural
effort in design. Other great works are John R.
Pope’s Temple of the Scot¬
tish Rite; The Banking
Room, Hartford, by Donn
Barber, and the design
for the ceiling by James
Wall Finn, and The Perry
Memorial, by J. H. Freed-
lander.
The new Association of
American Etchers con¬
cluded their first annual
exhibition at the Salma¬
gundi Club on February
i,and can lookback upon
their visit here with pride
and satisfaction. Thou¬
sands attended the exhi¬
bition and showed keen
interest in the diversity
of work and technique
displayed, while Mr. Reed
and Mr. Robertson were
indefatigable in showing
the various exhibits.
George Walter Chandler
was well represented, his
plate, Les Percherons,
being particularly inter-
esting. B. T. 0. Nordfeldt had some good plates
of Florence and Tangier subjects. The gigantic
plates of Arthur Covey, especially The Great
Wheel, were a sensation. Earl H. Reed showed a
number of plates executed in his mysterious and
poetic manner. Good examples were shown by
Edith Loring Getchell, especially Her Last Cargo;
by Ralph M. Pearson, with The Asphalters, A. T.
Miller with Fairy Rings. Nor must we omit
the skilful work of Raymond, Bertha Jaques,
Dahlgreen and K. Merrill. One could not
help noticing the general excellence and even-
ness of the exhibition. The Association has put a
strong taboo upon indifferent work.
The Macdowell Club of New York are holding

successful exhibitions of women’s work. They
have been showing group work of such artists as
Josephine Colby, Rhoda Holmes Nicholls and
Helen W. Phelps. A picture entitled A Winter
Morning, by that veteran artist, C. B. Coman, was
quite a piece de resistance. Alethea Platt was rep-
resented by some clever Bloemmers-like interiors
and some Dartmoor views, while Ida Proper ex-
hibited several Parisian subjects, broadly executed
and in powerful color.
The National Arts Galleries concluded their
special exhibition of the
work of members on Feb-
ruary 9. In such an ex-
hibition it would be im-
possible to expect even-
ness, especially as one
hundred and forty-three
exhibits figured in the
catalogue. It can, how-
ever, in all fairness be
said that the exhibition
was thoroughly satisfac-
tory, and contained a
large amount of work far
above the average. We
need only mention such
canvases as The Sea, by
F. J. Waugh, Frank Bick-
nell’s The Old Beech Tree;
The Hour of Noon, by
R. H. Nisbet; October
Twilight, by Ben Foster.
A life-size portrait was
shown by Wilhelm Funk,
good in color and effect,
but somewhat stiff and
conventional in pose.
Gifford Beal’s Landscape
in Winter commanded general interest and re-
ceived the silver medal. It shows a winding
stream, with high banks, thickly mantled in snow,
with evergreens in the middle and background,
painted with telling directness and simplicity of
method.
Charles W. Hawthorne strikes a pleasant note
with his Among the Roses. E. L. Ipsen showed
a nude girl in the act of rising from her couch,
pose and flesh tones nicely conceived; also
Captain Christopher, an ancient mariner in a
sou’wester, about to cut himself a quid of tobacco,
his wrinkled face ably studied. One of the best
canvases on view was The Emerald Pool, wood and
waterfall, by D. Putnam Brinley, and we confess


Courtesy of Mr. Rudolf Seckel

THE VIRGIN CROWNED

XXIV