International studio (57.1915/1916)

With the Portraitists and Elsewhere


SPRING PANEL BY GIFFORD BEAL

surroundings. The artist revealed himself as
the Tod Sloan of art, riding for a fall. Among
more important exhibits, one recalls the Portrait
of his Mother, by William Cotton, an excellent
performance; Helen Turner’s Portrait of Mrs.
Leicester Lewis; Leopold Seyffert’s Portrait of
Miss Gladys Snellenberg, splendid, if somewhat
thin in the modelling; the self portrait by that
veteran painter Douglas Volk; a portrait of an
old lady characteristically affirmed by de Witt
Lockman; Portrait of Mrs. S., by Victor D. Hecht;
good canvases by both Mr. and Mrs. Crawford;
The Baby, by Henry Salem Hubbell, and Robert
Henri’s portrait of that famous lady, Emma
Goldman, one of the strongest pieces of char-
acterisation on view. Though well hung, one
could wish more space, say two or three feet
between pictures, as in Munich and other dis-
cerning centres.
In the case of the water colours occupying the
other galleries, it were hopeless except in a sturdy
volume to pick winners or comment upon in-
dividual offerings. Pure water colours, such as
those by Alice Schille were not plentiful, but as
everything which is not oil is comprised under the
blanket title of water colour, there was a bounti-
ful—somewhat too bountiful—exposition. The
attractive catalogue heralding the twenty-sixth
annual exhibition of the New York Water Colour
Club, contained three colour plates and 514
numbers of exhibits, including sculpture and
miniatures.

A PORTRAIT OF MRS. S. BY VICTOR D. HECHT


LXXXVIII