Studio: international art (89.1925)

expressive prints is Three Score and Ten ;
while in Merci I the artist suggests
all one needs to know about the old
street musician, who probably remem-
bers " better days," yet cheerfully faces
the irony of poor circumstances with
his hat held up frankly for the chance
gratuity. 00000

The gladness and grace of youth and
childhood are also happy inspirations,
and for sheer charm Mr. Heintzelman has
not bettered the exquisite dry-point Mother
and Child. A more emotional phase of his
expression we see in The Crucifixion, a
simple and noble conception which, with
some variation in design, he has repeated
on a larger scale. 0000

All is character that the needle of this
accomplished etcher attracts to his plates,
and the humbler life of Paris and the pro-
vincial towns inspires him very sympatheti-
cally, especially the folk of the cafes and the
street markets. The Poet, Ouvrier, Freddie,
Sur la Place du Marche, La Poissonerie,
Objets d'art—in all these prints we feel the
freshness and sincerity of interest that has
quickened the artist's pictorial conception,
and made us curious about the people he
shows us. This poet, for instance, who
still haunts the cafe with a ghost of reputa-
tion for the promise of his youth, is he a
" mute, inglorious " Verlaine, perhaps, or
are his singing robes no more real than the
Emperor's new clothes in the fairy tale i
This ouvrier—what story of discontented
toil is behind his lowering look i This
genial old habitue of the Cafe Lapin Agile;
rich possibilities of life and character
are suggested by the fine brow and keen
eyes that engaged our etcher's needle in
three studies on one plate, yet after all he is
only " Freddie," with a cafe popularity.

Objets d'art, and Sur la Place du Marche,
are the best of the plates I have seen in
which Mr. Heintzelman has depicted the
life about the humble shops and market-
stalls, but in treating such subjects he must
guard his art against the temptation of
picture-making, with a sacrifice of the
etcher's spontaneity of impression. This
temptation his interest in the details of the
fishwife's store has not enabled him to
resist in La Poissonnerie, but Mr. Heintzel-
man is too much of an innate etcher for this
to be anything but exceptional.

OLD BUILDINGS. DRAWINGS BY
MARGARET DELISLE BURNS. 0

THE work of Margaret Delisle Burns
has not been much exhibited, although
a few of her drawings were shown
some years ago at the Goupil Gallery, the
International and the New English. She
was a student at the Slade School before
the war, where she won the prize for
figure drawing in 1910. Since then she
has worked in France, the United States
and Italy; and she has taken as her chief
subjects the old buildings of these coun-
tries. Her earlier architectural drawings
were done in Dieppe, and in them she
first adopted the method used in the
drawings illustrated in this number of the
Studio. Most of the drawing is done in
Indian ink with body-colour on brown
paper. 000000
The Studio for December 15th, 1913,
published a reproduction of Margaret
Delisle Burns's drawing of Philadelphia
on a Wet Day, which shows the peculiar
design suggested by the little puffs of

r

OLD HOUSE, HAMPSTEAD "
WATER-COLOUR BY
MRS. M. DELISLE BURNS
8l