The Print Room at Bar Harbor, Maine

tionally interesting and included such masters
as Hiroshige, Koriusai and Hokusai.
On July 15 a selection of modern prints, com-
prising twenty-four examples, were added to the
above exhibits. These were loaned by the
Museum of Fine Arts, Boston, and came from
the Keppel Memorial; the loan was made through
Mr. Fitz Roy Carrington, the curator of the
Museum, and was much appreciated. The
artists represented included Buhot, Whistler,
Jacquemart, Bracquemond, Lepere, Corot, Millet,
Daubigny and Lalanne. These etchings were
all mounted to one size and shown in frames of
rather narrow natural wood, waxed, with re-
movable backs, usable on future occasions.
Some hundred etchings and engravings from
the collection of Mr. Herbert C. Pell, Jr., were
on view during August, thanks to the generosity
of their owner. They included four of Robert
Nanteuil’s superb portrait engravings, which
are unequalled in the whole range of the graphic
arts, a number of excellent Rembrandts and two
Dtirers, including a fine impression of the
Prodigal Son. Also included among the older
masters were Van Dyke (being represented by his
portrait of A damns Van Noortt) and examples
of the work of Aldegraver, H. Goltzieus, A. Von
Ostade and Robetta, the latter’s art being shown
by his Adoration and Cupid binding Youth to a
Tree. There were also shown examples of
Charles Jacque, Daubigny, Tiepolo, Piranesi,
Appian, Legros, and Seymour Haden. Whistler’s
genius was well displayed by a beautiful impres-
sion of his Piazzetta, one of the most lovely of the
Venetian set. Joseph Pennell was ably repre-
sented by three of his etchings and Zorn by five,
including his Shallow, one of the best of the series
of nudes seen out of doors, and one of the finest
etchings of this description ever made; not even
Rembrandt has made such living nudes as Zorn.
A valuable addition to the permanent collec-
tion was a Japanese print by Koriusai, the gift
of Mr. Edward Robinson, the curator of the
Metropolitan Museum of Art. Mr. Robinson’s
advice on the formation of this print room was
of great service, and the interest shown by Mrs.
John T. Linzee, of Boston, was of great value.
A feature of these exhibitions which are to be
continued throughout the year is the collection
of monographs on the artists whose prints are
being shown, as well as standard works on the
subject and several art magazines.

TRITON AMONG MINNOWS
A distinguishing feature in America’s
desire to treat the stranger, Art, in a hospitable
manner is the steady growth of museums and
institutes, oftentimes in unlooked-for places.
One would hardly have suspected Muskegon, a
few years ago, of holding parley with Masters
old or new, and yet to-day the Hackley Gallery
has a reputation far exceeding its geographical
limits within the State of Michigan.
The man who has made Hackley Gallery
what it is and who has so far successfully foiled
opposition in his determination to spend the
Hackley bequest as it was intended, for the pur-
chase of representative works of art, is Ray-
mond Wyer, its efficient director, a critic of the
most delicate fibre with a knowledge of art
which only few can lay claim to.
Hackley Gallery has, for some little time, been
a keg of gunpowder exposed to stray sparks,
with the inevitable explosion now resulting, and
many columns in newspapers and magazines are
devoted to the politics and controversies of
Hackley Gallery as exemplified by Mr. Wyer
and adherents on the one side and a narrow-
minded school board on the other. Such con-
flicts are unsavoury reading and inimical to the
best interests of art. It is not surprising that
Mr. Wyer has sent in his resignation, and we
venture to prophesy that his next appointment
will be one of importance and much more in
accord with his very marked abilities.
It would be unnecessary to call attention to
Hackley Gallery in this crisis, only that it is
typical of conditions existing or likely to exist
elsewhere. Power should be vested in a suitable
man and every assistance given to him. The
misrule of galleries is nearly always due to the
misdirected energies of little tin gods, who can
barely distinguish between a Rembrandt and
a Charlie Chaplin, but who, by bickering and
by-laws, can spoke the wheels of the Big Man,
who if left alone is perfectly able to perform his
duties. It is lamentable when a man like Ray-
mond Wyer, with an international reputation,
who has gotten together for the permanent
collection of the Hackley Gallery a splendid
array of well-purchased canvases, should be
thwarted by men of lesser calibre who are either
ignorant of, or indifferent to, the needs of a
first-class museum of art. W. H. N.

XVIII