International studio (61.1917)

In the Galleries


THE RACE

BY EDWARD BERGE

ton Ball, Guy Wiggins, AnnieT. Lang, and Irving
Couse have all submitted good work. At the
handsome galleries of E. & A. Milch on Fifty-
seventh Street, may be seen excellent examples
of the work of such artists as Childe Hassam,
Alden Weir, Paul Dougherty, George Bellows,
Robert Henri and William Ritschel. Cne of the
most interesting pictures at the Montross Galleries
is a pine forest by Robert Henri, with a very strong
light effect—a picture that conventionally treated
would escape attention, but which in his hands
has become a most dramatic performance.
Among the latest of Edward Berge’s works is
a fine bronze fountain called The Race, first ex-
hibited at the recent exhibition of garden sculp-
ture at the Gorham Gallery, New York. It ranks
with the more important of the sculptor’s pro-
ductions and is notable for its strength of model-
ling, its beauty of line, and for its energetic ani-
mation. It is a delightful bit of visualized fairy

lore, the fantastic element being emphasized in a
very subtle way without the sacrifice of either
dignity or simplicity. The elfin figure on the
back of the sea-horse is a composite portrait of
Mr. Berge’s twin sons, Stephens and Henry, who
frequently pose for him.
This sculptor is making a specialty of inter-
preting childhood in bronze, though he devotes
much time to portraiture, reliefs and memorial
commissions. Some of his small bronzes have
become widely known during the last two or
three years, especially the one called W ildflower.
A collection of his decorative garden pieces and
fountains was a feature of the biennial exhibition,
held a short time ago, of the Handicraft Club of
Baltimore, in which city he makes his home and
has his studio.
The bust reproduced above represents the work
of Marie Apel, who studied many years under
Albert Toft and Frederick Holmon. Her first

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