International studio (49.1913)

In the Galleries

always conservative and are, in the main, reliable.
By comparing the drawings exhibited with draw-
ings attributed to the same masters in the great
museums and national collections of Europe, it has
been found possible to corroborate nearly all of
them. This speaks well for the knowledge, intelli-
gence and discretion of the earliest American col-
lector of drawings on a considerable scale, who was
also, it is interesting to reflect, the friend of John
Jacob Astor, Washington Irving and Fitz-Greene
Halleck, and first superintendent of the Astor
Library.
A new organization was formed on February 24,
to be henceforth known as the New York Society
of Etchers. The meeting was held at the studio
of Mr. A. G. Learned, when the following officers
were elected: President, Arthur Covey; first vice-
president, A. G. Learned; second vice-president,
T. R. Congdon; secretary, Carl Horter; treasurer,
Harry Townsend. This society has been formed
on the same lines as the Chicago Society of
Etchers, having for its main object the furtherance
of the art among its members. There is much

need for such co-operation here, and the names
of the officers selected to work this new-born
society are guarantees of zealous endeavor and
high-class performance. We wish every success
to the movement.
Our winter scene illustration represents the
work of Mr. Will Rau, who came into prominence
through his eight excellent mural decorations
which he executed for the Court House, Omaha,
Nebraska. Mr. Rau is a many-sided artist and is
just now specializing on huge decorative friezes in
stencil, an art which in his hands points to im-
mense possibilities.
During the first half of April visitors to the
E. M. Hodgkins galleries were rewarded by a view
of twenty canvases by that promising young artist,
Louise L. Heustis, a pupil of W. M. Chase in New
York, and the Julian Academy, under Lasar, in
Paris. Her large compositions leave much to be
desired, but the small pictures of children, single
or grouped, are full of charm, well drawn and com-
posed, strong in color and excellent likenesses.
Space prevents an intended reproduction of Wal-

Courtesy of the Philippson Studios
storm’s ending by will rau


lace and Andrew Espey,
which will appear in our
next issue.
At Ehrich’s Galleries,
were exhibited inter-
esting examples of old
English landscape by
Gainsborough, Old Crome,
Ibbetson, Zuccarelli, and
several by Morland—one a
huge canvas entitled The
Shepherds, which has been
so well engraved by Ward,
and two or three of his lesser
pictures—The Pigstye re-
vealing him at his best.
The Old Mill, by Crome, is a
fine example, in spite of a
group of cattle, which were
not his strongest point.
Ibbetson put very dainty
figures into his landscapes,
which is well shown in the
picture on view. Zuccar-
elli has painted an English
country seat in a fine-tim-
bered deer park; a chariot
with six horses and postilion
dashes along the drive,
while a hunting party is re-
turning from the chase.

LXVI