International studio (57.1915/1916)

With the Portraitists and Elsewhere


Leon Kroll contributed some admirable studies
of the nude, painted in pastel. John F. Carlson
was seen in a good landscape, entitled Sunny
Brook, and Fred Wagner sent a number of clever
pastels of which Floating Ice should be especially
mentioned. One hundred and forty-six numbers
were catalogued and the exhibition continued
until November twenty-first.

eye of the critical observer at once in looking
over the line, showing the direct method of an
experienced painter in making every touch tell.
Daniel Garber contributed Autumn Medley, a
canvas most attractive in scheme of colour of
changing foliage. Fred Wagner had two works
on view of which, perhaps, a very effective bit of
river scenery he entitles The Coal Wharves was
the most notable. The Primrose Path, by R.
Blossom Farley, showed very close study of tone
values in a landscape in soft light, diffused by a
partly veiled sun. Morris Pancoast exhibited
two canvases, The Narrows in Winter, seen from
the shores of New York Bay, being quite the
most distinguished work of the two. Birge
Harrison’s contribution, Bridge at Cos Cob, gave
evidence of being the most accomplished work
in the collection in the way of sound technique,
united with fine sense of pictorial possibilities.
Beautiful little pictures of localities familiar to
the American artist abroad, were Parke C.
Dougherty’s Village on the Loire, Moonlight and
Spring at Montigny. Other works by well-known
local artists were by John J. Dull, Frank Reed
Whiteside, Franz Lesshafft, C. Yarnall Abbott,
Herbert Pullinger, George Spencer Morris.
A capital portrait of Dr. A. C. Abbott, by
Leopold Seyffert, occupied the position of honour
in the gallery. George Harding showed an
extremely effective decorative screen, somewhat
suggestive of the art of Japan in arrangement
and colouring.

AT THE SKETCH CLUB, PHILADELPHIA
NOTES BY EUGENE CASTELLO
The opening of the remodelled and extended
quarters of the Philadelphia Sketch Club on
Saturday, November 13, was also the occasion
of offering to public view of a very interesting
little exhibition of works in oil by the artist
members, selected by a jury and including but
thirty-four canvases, every one on the line and in
a good light on the walls of the spacious new
gallery. The purchase of the adjoining premises,
on the south side of the old house, has enabled
the club to construct a separate entrance to the
gallery from the street entrance, giving a much
desired privacy to the rooms used for club pur-
poses.
A remarkably good landscape by E. W. Red-
field, entitled Approaching Spring, caught the

An exhibition of sculpture, painting and illus-
trations, by artists associated with the colony at
Cornish, N. H., will open in the Little Theater,
Dartmouth College, Hanover, N. H., January 8,
1916, and will be on view till January 18.
This will be an artistic event of more than
local importance. The Cornish group is probably
the largest and most influential of any artists’
colony outside of a city in the United States.
Of the thirty-seven sculptors, illustrators and
painters who have lived and worked in Cornish,
fourteen have promised Professor Zug examples
of their work. These artists have responded so
generously that it is impossible to invite all the
Cornish artists simply because of lack of space.
Ever since St.-Gaudens came to Cornish, in
1884, this small community has been an artists’
resort.

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