/
(
CARVDIG BLOCKS
(
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
5ix6|-x9
4|x4x9
3|x4xl3
O^X 0>jX Xm
47^x5x10
6x5x12
4x4|'Xl0|
4r^-x4|-xl2
5x7-|x&|
4x4x8|-
4x8x10
5x&|xlO|-
3|x^ixl3
3|-x5-o-xl3
wj^X I "pX*/^
O oX kJ^JL i^
4|x4|-xll^r
5x5x11-1
&|x6|-x6^-
5x6x11
5x7x7
O^X ÜoX \J ^
4x4x12
5x8ix7-|
6x8-|x8
7x8x6
4x5x9|
5x7x10
4x6x12
4x7x11
4^x5tx9
4|x4|xl2|
5x4ixll|-
4x6|x8
6ix7-|x6|
3ix4#xll
4|x4^10
4x4gx^
4-k4|xl2
3ix5ix9
4x5xll-|
4|x5xll
5x5x12^
4|x5xll|-
4|x6xl0
4x4-|xl2
5x4-öXl2
$1.25
.85
1.00
1.75
1.00
1.35
.80
1.15
1.50
.85
1.40
1.35
1.00
1.10
1.80
.85
1.05
1.25
1.26
1.50
1.30
1.25
1.00
1.30
1.60
1.40
.90
1.35
1.25
1.30
.80
1.20
1.30
1.25
1.35
1.50
,90
.85
.75
1.15
1.00
1.05
1.25
1.35
1.10
1.10
1.05
1.25
Ivir-HOGANY
49
4-^x4?rxl3
$1.15
50
4x4a-xl2
1.00
51
4|x4-?,x9
1.00
52
ö^yA-^xlZ
1.25
53
5x4;^-x9|-
1.20
54
4x6x12
1.10
55
4x5äx8|-
6x4|x8
.80
56
1.20
57
5?7x4-i-xlOf
.75
58
4x4|-:cl2
1.05
59
4|x5|xl2
1.25
60
5x6x9
1.20
61
4x5x9?-
.75
62
1.15
63
4-i-x6x9|-
1.20
64
4x4|x9
.75
65
4-^x5|-xl0^
1.25
66
5x5-|x9
1.00
67
4x5x12
1.15
68
4x5x12
1.15
69
4^X577X8:5:
«C ^^ *w
1.00
70
4x5x11
1.10
71
4x5x12
1.10
72
4x5x8
.75
73
5x5x8?t .
1.00
74
5x5i:Äll
1.35
75
4-|x4j-xll^
1.10
76
OX OoX J. J-'ä^
1.35
77
4i-x6x9
1.20
76
4-^x5x11
1.00
79
5x4irxll
1.50
80
5x9x8
2.00
81
4x5x9|-
1.00
82
5x6x11
1.25
83
3x5vix9^
1.00
84
3|x-ixl0
4lx5x7^
1.00
85
.75
86
4x4x11
.90
87
4.';x 5-5x9
1.20
88
5ixllx6|
5-1x6x8-?.-
<^x5x9
1.60
89
1.30
90
1.10
91
5i5ixlO
J 0^
1.50
92
2|k7x9
.75
93
4-|c6i|x7|
1.00
94
5x6x9g-
1.60
95
4^x4-1x11
1.20
96
1.50
97
98
99
100
101
102
103
104
105
106
107
108
IC 9
110
111
112
113
114
115
116
117
118
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
4^x5x&|
$ .85
5x6x9
1.30
6-pa5-^-xa|
1.25
4x4-i-xl0'^
1.00
5x6|x8
4x5|-x8
1.25
1.10
8x6x7
1.30
4^5^-xl2
1,25
4x4x101-
.85
4x5xll-|
1.30
4b"X&?^xl2
1.50
4|x5ixl5
1.50
4x1x12
1^00
4|x5x9
.85
5x8|x6i-
1.25
7xlOx7t
2.25
4|x6|xl0
1.50
4x7x10
1.35
4^x4^x10-1-
1.25
4x4^x10
1.15
4ix5|x9-i-
1.15
^x5gX92"
1.10
3x5-^x10
1.15
6x5x9^-
1.35
4x4-|x9|
1.00
4^x4-|x9
1.00
4x4^x12
1.05
4fx5|x8
l.OO
5x4x9
.80
4x5x12
1.25
5x5-|xll
2.00
4|x5^8
.85
öx4-|-xl0-|
1.25
5x5x10
1.25
4x6x11
1.40
4x6t^x11
1.60
6x4^ 7i
1.25
5|x6x9i-
1.25
4x5x12
1.25
5|x6x8
1.25
5x&|x9-|
1.50
7-|x7|xll|-
2.75
5x4^^x12^
4x5|xl3|
1.25
1.40
4|x7xl0
3jx4r|^xl3
1.40
1.25
T^e can also furnish Mahogany Blocks up to 12"xl2" square and from 12" to 36" in
height . ,
Together with above vie carry Lignum Vitae, Black Ebony. Tulip, Pemambuco, African
Blackwood, Walnut, Oak, etc., which we can furnish in Log form or in blocks.
t ,
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Yie off er these carving blooks "as is'\ We believe them to be
reasonably sound and as dry as circurastances permit. Blocks this
size caniiot be kiln dried. TOiero thore aro soason ohocks or splits,
"we have raade due allowance in the prioe. In most cases they are
only slight and will work out or can be triramed out.
Gare should be used in v;orking those blooks. They should be
ßhollaood or paraff ined and kept away from any unduo amount of
heat«
BLOCKS ARE OFFERED SUBJEGT TO PRIOR SÄLE.
PRICES ARE FOB NM YORK CITY.
J. H. MONTEATH CO.
2500 PARK AVENUE
NEW YORK CITY 51, N. Y.
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DETACH BEFORE DEPOSITING
JEWISH EDUCATION COMMITTEE OF NEW YORK, Inc.
1776 BROADWAY, NEW YORK, N. Y.
THIS VOUCHER-CHECK 18 IN FÜLL 8ETTLEMENT OF THE FOLLOWING:
DATE OF
INVOICE
PARTICULARS
AMOUNT
A-16-45
Vl^Jld For transporting clay work to and from the ^rt Exhibit;.on
7.00
SiGNED:
T^
DIRECTOR, DEPT. OF STATISTICS AND ACCOUNTS
DETACH BEFORE DEPOSITING
JEWISH EDUCATION COMMITTEE OF NEW YORK, Inc.
1776 BROADWAY, NEW YORK, N. Y.
THIS VOUCHER-CHECK 18 IN FÜLL SETTLEMENT OF THE FOLLOWING:
DATE OF
INVOICE
PARTICULARS
4»— 24'—4'4'
#10969 Refund of taxl fare re: delivery of materials to the
art exhibit - 6 r-t /^ /i J^^/^. /-
SiGNED:
AMOUNT
3.00
DIRECTOR, DEPT. of STATISTICS AND ACCOUNTS
(
PARENT-TEACHERS* ASSOCIATION
Public School 144. Qujjens
Forest Hills, N. yJ
l'.Ts. Erna V/eil],
1.35 Audley 5t . ,
ICew Cr( rdens, TT",
Dear l'^rn. V/ei 11:
Decemuei 30, 19^x3
' •-- •■>»»#-'
Pieabe gurgivü thib delixy in
sendinp: ymi the accjümpauyirit; check,
I do hupe ■ ^^u }'^^'>'"e eujuyed a
pieacant holiday, and that you aiid ycur
fainily have been in ;^ood health.
Cui very best wishec to you
and yaa rs f or a very hapoy and healthful ITevv
Year.
r;inij'^r^"ly vnirp.
Chairman Ai ler Hchool
Re er e at i onal Acti\ätiej3,
ÄETTY CASH VOUCHER
i
Date.
1/31 10 /i
/j
A^Vv^' ^U-'i-TA-^-p^^,^
FOR
HUNTER, NEW YORK
Phone: hunter 3518
Mrs. CLARA BERMAN
175 EASTERN PARKWAY
BROOKLYN. N. Y.
STERLING 3-7207
June S, 1943
Mrs. E. Weill
102-18 Ascan üVe.
j?orest idlls, -u« !•
Dear üT s. Weili,
Auis Is to conflrra your application f or itrts and ^raf ts instructor
for the month of otuly, 1945* It iß agreed that for your Services
you will get a remuneration of ^even-ty-five doUars ($75 •00).
It i? also understood that your Services will be rendered the veiy
best to yoTir ability«
CiÄmP ittÄiriiXP*^ xHc«
ii^esident
v
PHONE JAMAICA 6-4524
M,AO,
^
8.
19
PAUL FREIGANG POTTERY STUDIO
138-07 90TH AVENUE. JAMAICA, N. Y.
¥i
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^
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'"^^^-^^ CU^n^
Telephone: HAvemeyer 4-8934
The Jewish Center of Forest Hills West
MAURICE H. SCHATZ, Rabbi
HAvemeyer 3-7399
63-25 Dry Harbor Road
FOREST HILLS WEST, L L
HAROLD L. STRAUSS, President
MEYER M. ABRAMOWITZ
CANTOR
1GJ3-18 Ascan Avo.
Foroüt xiillü.
January :f, 104^
i-j *
Dour i.lrs . '•ftiill:
I ßiva^t toll von 'loT sori'y I fool. Your check Ims hr^en
lying around Tor öboüt "b.-'-o yr^el-s ".rith^vit Imviru^ b^^^en sent to
•v\r:5li by t?i.'s tiino. Lhy I bic-.'- rrhon c3rd if you rü[;lTt: be a:>le
t o r dt »i ni • V
l.'ith büst wiühns to your family
<*<
öiiio«r:?ly youi's.
iiabbi Maurico xi. Üohut
{
i
(jirl ucout Ijouncil oi vJrcatcr IMcw York
670 Lexingtora Avenue
JMew ioiK
Novem'ber 5 t 19^2
Mrs. Weill
102-18 Ascan Avenue
Forest Hills
New York r -
Mjr dear Mrs, Weill:
We have sent out notice<? for the Novemter tenth
pottery meeting* Unfortunatelyt most Öf the leaders
contacted will te unable to attend at this time* It,
therefore seems wlser to cancel this course*
I am indeed sorry this has happcned* May we feel
free to call on you again when the need ar^ises?
Thank you for your kindness and Cooperation.
Sincerely yours,
Helen Withall
Traihing Adviser
•)
County of Westchester
RECREATION COMMISSION-WESTCHESTER
WORKSHOP
County Center
White Plalns. N. Y.
WESTCHESTER COUNTY
RECREATION COMMISSION
Mrs. Eugene Meyer, Chairman
Mrs. Thomas Blain, Secretary
Mrs. Henry R. Dillon
Mrs. William L. Lefferts
Miss Ruth Taylor
E. Dana Caulkins, Superintendent
TELEPHONE! WHITE PLAIN3 I300
July 26, 1943
Miss Sma Weill
Cexap Mayfair
Honte r, N« Y*
My dear Miss Weill:
lam in receipt of your letter of July 22nd and
wish to State that we do firing for oamps and schools located
in Westchester County only, tlierefore, we can not do your firing»
CK:H
Sincerely yoors,
Charlotte Kizer, Direc
Westchester Woikshop
f
SAMUEL WILLIAMS
50 LENOX ROAD
BROOKLYN. N. Y.
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Tel. WHitehall 3-7887
HAvemeyer 6-2031
T
WALTER ELY
HOME and OFFICE FURNITURE
POLISHING — REPAIRING
Sold to.
<^^^2^
TERMS:.
61 Water Street
NEW YORK CITY,
£^.
.^C^' Z^ -
94/
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Plcc.so Post
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Plor.30 Post
mil YORK UMIVSRSITY SCHOGL OF L'DUCATION
W A R
R E C R E A"""T"b 'if ;/ C R K S H 0 F S
l 9 ''^ 3
'««^•«••»•^«•-•»•a M'
»•««•••V«
In Order to rneet tho prcc>sing need for röcreation vorkers fcr cur craied forces here
rnd rcrord, in the vr.riouo scrvice orgrnlz: tions , in ♦*boom-to;;n*' industrir.l centors
r:nd oOC.U:l cg'.noies^ Short intensive courses in r :cref.tion?:l lec.dorL3hip hcve beon
orr'" ni?.'.ed .
Courses Off ered
Stud-nts v;ill select r.t lerst ono course frora er.ch of the follcwing groups«
C-rcup I
I eaac-rship in Community Recrer-ticn
C-rour II
Phiioaophy of Rocrcr.tion
Adminiotrrtion of Rccrcc.tion
Methods cnd Techniquc^s of Social
R 0 c r c Twt i o n , D r c.nv ^ c. nö, D ci n c o
Whon hhe Courses Bopän
r>«— — wt— »^-<^i»'" '»■ <
11
Föbruary 2, 1943 - //ashi.ogton Square (8 v/oeks
ivlc-.rch 29, 1943 - ^ssnington Square (8 v/ooks)
Kay 30, 1943 - Lake oebago Ca.np (4 v/eeks)
July 5, 1943 - Lake Sebago Camp (6 weeks)
Soptornber 20, 1943 - V/ashington Square (6 weeks)
Ncveu.cer 22, 1943 - T/ashington Square (t v;eeks)
Group IX
kothods of Lcc.dership in Cc^iiping c.nd Outing
Socir.l '^Vork c.nd Socicl Agcncies
CTr^oup III
Skill Techniquos • Sports, ^^tunts, rnd C-rmes
Skill Tcchniques in Dc.ncing - Folk, Square,
and So cid
Skill TechniquQs in Recr'jction - '.lusic
Skill Techniquos in Rccr:'r.tion - Arts and
Grafts ^•.^-
Tho deman'd fcr trained recreation '
loadership is precipitating a
crisls. Agencies needing trained
loaders aro:
Settlement Houses Y..vi«C.A, - Y.al.HJV.
American Red Gross Y .V^'.C.A. - Y..'M-LA
United Seaman *s United Service
Service Organ izations
Boys Clubs, Ca-nps, Churches,
Schools , et c .
Coursos v;iil be accerted for credit tov/ard a degree in the School of Sducation under
tho regulations of that school. Those not iinüiediatöly interested in a degree may en-
roll 'js special studentst ^ ?r '^^-^ kj
For further details, write or call Dr. Jay ?:. Nash, or ..Ir.* B. E. Kughes, School of
EaNCijtion, Nev/ York University, Washington Square, Nov; York, Spring 7-2000, exton-
sion 416, or 406. r/ ^ r. I ^a '-'"?» ^ /' '^
1 A
i^- 1.1^
r
Z ^^Ct
C
^ -ttfefc?/-^
0
p/^ >^Ö^>-
I
15^-^8 , 7B, ve ^ Kew ardcns
Hills
on Thurcd/y, Oct 1 , 194:^.
at 5 / 3o p.'-.
Kindly fill the attorhec! ^e/^ristratio:
Bl.-^jik rind retu:m.
t>culptre»ö
rlQtiCh)
I h«r«l)y Änroll
for ths :r-okly ''Lil ITH CLAY"
ancl llAl^f)l(;KM<T CO»)^ SKS ,hel(l by
Kraa -11 J in tho Kind „:re:;art3n
1 5-28 , 78 vo,Ke OardPüfi Hills
on hurr;dny , Oct 1. , 1942 •
at 3/5o • •'".
onthly Tait Ion Fee Doller 25o ,
p ^yable in advarice.
Date ♦•..»...,
Kcme •••••••••••.••.....,,.
ridrecs««« • ••••••••••••••••..
Telephone •••
ReöpeniÄg of the "PLAY WITH CLAY"
andHANDIBJRAFT C0UR3ES in the r
Kindergarten ^
135-2a , 78. Av« , K«if Garden»
Hills
on Tkmrsdaj, Oct 1 , 1942.
at 5 / 3« P.M.
Kindly fill the attached Registratioj
Blank and return.
Erna Weill
tSculptress
(detach)
KEGISTKATIOH
I hereby enrell
••••••.•• ••• (name )
f or the weekly '»PLAY WITH CLAY"
and HANDICRAFT GOURSES ,held by
Erna #eill in the Kindergarten
155-28 , 78 Ave,Ke^ Gardens Hills
sn Thursday , Oct 1. , 1942 .
at 3/50 P.M.
Monthly Tuit ien Fee Dollar ^5« ,
payable in advance.
Date
Name •...•...• .•..•••.•••••
Adress.« ••.••..••#.•......••....•
Telephone .••. .•••...
(
I
BOA.RDING SCaOOL^ TOE GlRlS IN N^^ jTüRK STATdl
Ardsley School for Girls
Ardsley, New York
ßnr o 1 Im -jn t ( bo a c di ng )
Tuiti:)n !|5£0
Undenominati ^nal
70 • Kindergarten, r-r^des 1-8
Brantv.ood Hall, Brorixvllle, N. Y.
iSllzabeth V^. La^tiiiier, Headmistress
Girls: agss (bcarding) 6-18; day £-18
ifinrollm^nt (boarding) 35 day 200
Tuition (boardi^ig) i{;1000, day C17Ö-500
Bo'irding, gr-^des 7-8, high school 1-4
Accredited t ■■ collec-s ad^^itting by certificate
Member Oniversity of the St' te of Nev; Y;)rk
Cath9dral School if St. Mnry
G^^rdsn City, Long Island, Navv York
(Mrs.) Merion Reid Marsh, Principal
Girls, Rges (boaidiag) 10-18j (day) g-lB
Änr aiment (boardingj 49, day 150
Tuition (boarding) C1200, day 1100-450
Den :ainatijn - ä i sc 'pal i an
CoulS^^s: nursery, pre-school, grad*-}s 1-8,
coll:g9 :^reparatory, music, art
Accredit^d by Middle St^it33 Association
«niber ünive^sity of th3 State of New l'or
hi p;h
scho -l
1-4
DvsVi Seminary for Yo mg l:):.en
Carrael^ NevA York
Dr» a9rb3rt £• YJrig t, '^resid^nt
Girlsj p^g^s 10-^6
finrollment (boarding) 1?0
^ Tuition (boarding) |800
Cour 3 es: gradss 5-8; high
PO s t-gr adu '; t e ; art ,
Denomin- .ti ni: M3thodi st di i sco.oal
Acer dit^d Middle Stat'es Association
esib3r Üniv rsity of tne Stote -f Ne^^. York
school 1-4, coli 93 9 prt)3^'ratory;
mu sie, s ecr ot ari al , dr ama ti c s
firiima ?/illard School
Tr ny, Nev; York
Givls, ages 13-19
fcirollmmt 154
Tuition (boarding) tl400-1600
Ond enonii c a ti onal
Cours^s: high school; colle'.j5 preoaratory; g^.neral; music
art, drcamatics
Accr^dlt::d Middie States Association
Membor Önlver3ity of the St-te of Nev. York
L-uir-
I
f
Gardner School
lb4 fiast 70th Street, Nevv York
M. eiizabsth M-sland, Principal
Girls^ ages (boarding) 14-<i0
Änrollment (boarding) £0; (d?«y) 60
Taition (boarding) $.1400-1660; (d?y) |ß50-600
Ü n d en o m i n -x t i 'i n al
Courses: ^jrades 1-8; high school 1-4; colleg» preoaratry
advanced 1-g; rnusic; art; dr^inntics; secr-.tarial
Member liiddlrj States A:'3ociatJon
•A
I
\
C" "'-' w
:; 1. ^
^" 5 o S
O
t.
s
t.
School
Dobbs Ferry, N w York
tilvellna Pl9rce, R^admistr
Girls, eges 14-18
tilnrollnient (boardinij) 19<
Tuition (boarding) ClSOO; (day) |500
und enomin*- ti onal
Cour s es: high school 1-5; College preparatory; gener b1
A.ccredit-:;d Middle States Association
Member üniver^iity o.f the v'.t^'ite of Nev. York
Agnes School
Albany, Nev York
Blanche ?ittman, Principal
Girls, ages^ (boarding) 10-18; (day) 5-18
Änrollment (boarding; SO
Tuition (boardlngj U^OO; (day) C100-S50
Benominati an, ßpi scopalian
Cours^s: (boarding) grades 4-6; high sch:>ol 1-4;
day) kindergarteri, grades 1-8; high school
music, crt
Accr?dited bv Middle States Association
Member ünive sity of the State of New York
Faith^s School
Saratoga Springs, Nev York
Reverend F* Allen Sisco, Principal
Girls, ages 6-18
finrollment (boarding) 48
Tuition (boarding) |500-600
D en ?5!ii na ti on , & i s c > p a i i an
Cours^'St gr^des 1-8; high school 1-4; coll^^^e preoarator
l^usic; rrt; secrstarial
Accr^dited to Colleges admitting by certificate
Member üniversity of the St-te oi IJev: York
( CO an try
1-4:
V
\
0- p
ary* s School
Peekskill, New York
Sister Mary Regina, Supervisor
Girls, ages 12-19
?5nrollment (boarding) 66
Tuitirm (boarding) Cl?^-00 (day)
D en ;»iiii na t i on , tip i s c o p a 1 i an
Courses: grades 7-8; high school 1-4; College preparatory
Accredited b Middle otntes Association
1275
<«
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Soencsr School
£2 tiiast 9.1st Street, Nev, York City
Dorothy Erockiftsy üsborns, Head.dstress
Girls, (boarding) 15-18
finrolimsnt (bo-^rding) ES (day) 210
Tuition (bo^rding) |lo50-1950; (day) CSOO-700
Courses: grade 1-8; high school 1-4; collsg? pr^.jaratory;
art; music, ?xpr^ssiori; drauiaticsj languages; dancing
Accrsditsd Middle otatss Association
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LlEBER^i^N & SCHWARTZ PRINTING CO.
146 WEST 26th STREET • NEW YORK CITY
WAtkins 9-4692 ^,
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Sold to
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I N V O I C E r
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ETIL STUDIOS
INCORPORATEO
THE LARGEST SCULPTORS .«^^üi. SERVICE ORGANIZATION
TELEPHONE!
\
WATKIN8 9.-ao
9-2aoa
V^
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227 N>/eST 13^ ST
NEW >^0 R K.
30l_n TO
Mrs* Weill
102-18 Ascan Avenue
i?'orest Hills, N*Y.
August 15, 1941
SHIPPED TO
above sH.PPEDv.A p^^^^^ p^3^
CUSTOMER S ORDER: tOlepllOne
TERMS: C,0«D.
1
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Ceramite Clay
Instruction sheet
Tax
Postage
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75
04
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Copper
Brass
Plione JAmaica 6 — 3053
C H R O M I N G
Silvc^r
Jamaica Electro-Plating Corp.
Polishing - Lacquering - Plating
87-83 . 139th STREET (off HiUside Ave.)
All Kinds JAMAICA, L- L, N. Y.
Automobile and Plumbing
Work Our Specialty
Customer*s
Order No.
Sold to
^IZZLk
O'^/X 7
Salesman
Rec'd by
PRINTED IN US A
FLATPAKIT PATENT NO. I. 884 47«-AMERICAN SALES BOOK CO. . INC. , NIAGARA FALLS. NY.
CABLE ADDRESS. JOINER.NEWYORK
EUROPEAN fi£PR£S£NTATIVES .
LONDON
JOSEPH HADLKY Ä: SON
PARIS
SOCIETE UASSUKANCES POUH
LE C0MMERC:E et riNDUSTRIE
HAMBURG
HINRICH GAE DE
AMSTERDAM
LANGEVELDT SCHRÖDER
I
ESTABLISHED I87S
yr//
GENEKAI. INSURANCE
EIGHTV MAIUKN LANE
I
TELEPHONE JOhN 4-1155
'o/Ä', ^^^y ^■' -'-^'
\
RE:
FINE aRTS LiSüiihäÄEL
Mrs» iiirna vfeill,
30-4Ü Lefferts hlva* ,
iiev/ Garden s, L,I.
Dear Madtua:
We tlianK you for your letter eiiclosing a list
of the articles vviiicii were covered unaer tue above jjolicy
and confinn naviiiö obtained a provisionai binder from the
Uomi.iercial Union Assuraiice c^ompany coverint^; the ^jpoperty
at tlie Tempie Emanu- El in tne amount of ^|li)0. Vve would
apjreciate your instructions wien tiiis insurtmce is to be
cancelied so tnat vve can inform your underwriter^ accoruinöly
and have tne policy issued*
«»e are wonderin^ if you desire iai^ covera^e on
the Tenple in ilushin^, inaaniucn ais you recently told our
^^r. Salfeld by telephone that you desire sil50* on property
while at this Tempie from i^lay 9th to 11 tn.
-^^waitin^ your reply, vve remain
Your/fe very tiuly,
(KfciJKElL &
WB : CP
>
I
STATUARY
T A B L E T S
Bedi.Rassy, iNd.
BRONZE FOUNDRY
503-505 E. 76TH ST.
New York City
FRENCH SAND
CIRE PERDUE [LOST WAXJ
Tel. BUtterfielo 8-6258
M
Mrs. E. Weill
Mav ifi. IQ.-^Q
,19
rts Blvcl.,Kew Gftrfiens. L. I.
CABLE ADDRESS JOINER.NEWYORK
EUROPEAN REPRESEMTATIVES :
LONDON
JOSLFH HADLEY «c SON
PARIS
SOCIETE DASSUKANCES POUR
LE COMMERCE ET l'INDUSTRIE
HAMBURG
HINRICH CiAEDE
AMSTERDAM
LANGEVELDT SCHRÖDER
\
ESTABLISHED I87S
yy//
GENEUAI. INSURANCE
KIOHTV MAinEN LANE
\
>
TELEPHONE JOhN A-I 155
RE
Flivit .^KTb FLO^Ttii^
ch cc, l;^i59
Mrs. Erna l^eill,
aO-4Ü Lefferts u^iva. ,
Kew üaraens, ^.\.
iJear iviadaia:
Confirming jour instruotionii tu üur IViP.
Salfeld, we nave liotiiiea tue Uoia-ercial Union
iiS^uranoe Company tnat tne exiiiuition of tne slatues
at 2b East 62nd Street will continae until -Mpril 17th,
v.e woulä ciporeciate your ^ivin^^ us tne
list of iteius to dg covered vdün tueir respective
values so tnat v/e can na\re ^kjH^ poiicy ic^Lued.
Assuring you tnat v;e are aiways at your
Service, v^e remain
19o9
tfVb:GP
Q^' K ^ i ^
/
Youi-b vtry i.ruiy,
'V-^^' .n •
Telephone EVergreen 9-6033
1 i
1
i
} Eugene Gargani, President
E. GARGANI & SOINS,
Statuary Bronze Foundry
Cire Perdue ( Loti Hux) Irocest
175 GREEN STREET
BROOKLYN, N. Y.
April 4th, 1939
Inc.
Er 8. E. Weill
80-40 Lefferts Blvd.
Kew Gardens, N. Y»
Your No.
'Im
^
Our No.
Shipped
We acknowledge with tHanks tnd following:
TO Casting in Süver
«SMALL PLAQUE"
t. G^.KGftRl & SOHS. 1T-.
18.00
18.00
Telephone EVergreen 9*6033
I
ISugene Gargani, President
/
E. GARGANI & SONS,
Statuary Bronze Foundry
Cire Perdue ( Lo»t tfux) rrocets
275 GREEN STREET
BROOKLYN, N. Y.
Maroh 28tn, 1S39
Inc.
Mrs. Weill
80-40 Lefferts Blvd*
Apartment 6A
Kew Gardens, L* !•> N.
Y-
Your No.
Our No.
To Casting in silver
SMALL PLAQUE
Shipped
^.^SttMi $ 1^'-
n^AoM 3^ ^"f^t
tM
22.50
22.50
Telephone EVergreen 9-6033
E. GARGANI & SONS, Inc.
Statuary Bronze Foundry
Cire Perdue ( Lost Wax ) Process
175 GREEN STREET
BROOKLYN. N. Y.
March 9th, 1039
(
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Mrs. Weill
80-40 Lefferts Blvd.
Apartment 6A
Kew Gaxdens, N* Y.
Dear Mrs. Weill:
We propose to furnieh you witn the following;
Large Oandle Stick (bronze cast) $45.00 eaoh. "i^
Small « " (MM \ 40.00 « . ^^'"
Spiod Aro ( M n ) 35.00 • • fX -
Small Incense Burner ( bronze cast).. ..10.00 each. yu*''" « -
■ • " (MM ).,.,45.00 for 5 oopies<
Oup (silver cast) 50.00 each.
N ( H " ) 48.00 eaoh f 0X3 .
copies.
Oup (Silver cast).. ..40.00 eadh for
20 copies.
Chip (Bronze cast) 22.50 eaoh. ^^
« (mm 5 20.50 each forr 2
copies.
Plaque (small) Silver 18.00 each.
" * Bronze 10.00 each.
Yoxars very truly
E. GARGANI & SOi^S, IHC.
GG:aG ^:: '
Plaque (Large) ... ...Bronze cast 14.00 each.
more than ten (10) copies 10.00 eaoh.
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ST AT U A R Y
T A B L E T S
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Bedi-Rassy, Inc. ^
BRONZE FOUNDRY
503-505 E. 76TH ST.
New York City
FRENCH SAND
CIRE PERDUE [LOST WAXl
Tel. BUtterfield 8-6258
lai-
.19 C
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Ttlephoac EVergreen 9-6033
)
E. GARGAJNl & SONS, Inc.
Stutuary Bronze Foundry
Cire Perdue ( Lost Wax ) Process
175 GREEN STREET
BROOKLYN, N. V.
ilovember 27th, 1938
ÖO-40 lefferts Blvd.
JSbv! Gardens, II. Y,
iJear laxt. ^dills
T'e propose to furnish you rith the Standard bronze oesting
ttie ''Lo6t ^'ax Irooets" the folloFing-:
in
X
« • •
Sr.all Litting ^oman .
bf.all Dos
bF.all Bo;^' on Shell
Sriall Sitting Torso
Ink Tra^ Top
Paper Knife
Leal btainp
3adcla Plaque
Ink Tray and Top
Slot t er Jog vith base
Blotter i)og v^lthout base
Lying ^orran
Sr.all Portrait
0 an die
Jish Tray
Large Jandle-Stiok
£n:a 11
Spioe Atq ^ ^
Piaster oasts for three rarked
Lask in 3ronze
L'.ask iü Pia st er
Top of Ink Tray cacle a
Portrait
tiask in Jeroir.ioa
Book i.nds
Small Standing figure
Siriäli jjanoer
Ash Tray
• ••••*
• •
X
box
. .$5.Q0
5.00
6.00
5.00
5.00
4.00
3.00
2.00
50.00
22.00
20.00
15.00
15.00
15.00
15.00
50.00
45.00
40.00
Vi.
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16,00 Eaoli
15.00
7.00
7.00
65.00
45.00
SO. 00
22.00
ILuÖO.
25.00
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Sabbat h Ciindleötick
The Sabbath (Umdlestick showe Mose tho leader of the Jev;ish i'ecple in the t.'O moot
Imnortant "cment. of his lue . On the one sidö you see the youmr Jlose liBtening
the flrft 'Se t the voice of Cod in the burning bush . The inscription reuds j
" ?ut off thy shoos from off thy foet . for the plac« whereon thy standet is ho y
cround,- On the other side Mose is receiving the ten conunandments on Mount .inai .
?hne:ninrof th. inscription i» «. follov.3 : "t.iose «pake and Ood ansvered hxm
by a voico •"
Besainim Box«
\
In accord^.ncP with the idea of the Posamim Box whioh soek« to create r^.oa^nt feolia^t.
towards the coaW -eek.b, umolline plc.sant spiee. , t pic-tured threc Bccneo ol the
Tiltll Mch wouM refloot this a t.-no£:herc. Tho firat ncene sho^s the spys who
were seitl^t b; ";.so to .euren the land of Canaan and who returned .vith tho fruxts
oi th^lnc, , grapee ,0 rieh and heavy . that they needed t.o men to carry them .
"The lana rhich -.e pa«sod throu^.l: to .earch it , i« an exooedmß L^ood l^nd . '
The second i^^ne sho.« Jacow and .achol at th. well , vhere J.cow feil xn lo.c to Rachel
»'nd Jaco- V'^s.ed vechcl , anc. liftou t^p hi.s voice and wept,
„na Jaco. kto.bj -^ v^e^on of the Sabbafch hb the triie an.! Israel os
the brideßro'//n^ '»The coals thörcof ar^^ coals ol firo , v/hich has
mo
ridv-iunh Cim«
!■»»»•»»<
On the tiddush ^'UT> you find tho grapes väth the inscrif^tion of the nerochofor tne vine,
a prfji«6 Jef cereb^utin.- ^-^riday ■ vcnincr with his chil . in a Jo.vful mood . then the
ol.i lion of Juda , tht- symbol of .-.treugth .
M ^ /kc-uf
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Kunst - N I EDER. Inc
BRONZE FOUNDERS
503-505 E. 76TH ST.
NEW YORK CITY
♦
Tel. BUtterfield 8-6258
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PLAZA 8-0655
Est. 1931
SiLVERSMITHS
Manufacturers of Fine Reproductions
Gold and Silver Platings
EXPERT REPAIRING OF SiLVER. OBJECTS OF ART. PEWTER. ETC.
Refinishing - Engraving
328 EAST 59th STREET
NEW YORK
Tel. BUtterfield 8-6258
FRENCH SAND
CIRE PERDUE [lOST WAXl
BEDI - RASSY, Inc.
Bronze Foundry
R. G. KAADER
503-505 E. 76TH STREET
NEW YORK CITY
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BRONZE FOUNDERS t a b l e t s
STATUARY 503.505 E. -/eTH ST.
NEW YORK CITY
Tel. BUtterfield 8-6258
Decexnber I, I'Joß
B040 Le-^^ferts rivc!*,
L/ear l.'re. '"ei 11,
\j.^: y-u ^-IJ] i'i-:ci the price list for the wjrk you irr^
rliown me.
Tm-ll rotr:.it ..B.^C
Jan rar.ks up to e-.rs 12.00
Sm-^:!! Cnnc:ie Bticl: 7.^0
Snr-il ^:ov 4.00
Jirictll uo^!; 5.bC
Llt'^iiiper •-^•^^
jlo''/er ink well lo.^C
L^:^tter operier 4 .00
Ly i ng woman 8,00
oin^.ll lunt of v;oman 4*^^
Lo ; i ^i,r^ P'v.i r ^ I ^'' • CO
Ink v/ell top ^.00
Ink-v/ell tOij(::.B ink v/ell; 7.00
P-ur.t with shjuluors 60.00
Ilunninr: vvorn'-.n 10.00
Jai^'.z v;orn'.;n 8.00
'Tomen v/illi jjI?. te 12. '^0
Soll ■-il"i woTfirn ac hanclls 30.^^0
ICoti.er ..ith chilci 22#00
'"eepii'if^ v/oinen • I ^^ • 00
i'ricei: c:Uü.ject t) cil'>.nge v^ith in 30 ciüv^r.
7our^ trulv.
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E. GARGANl & SONS, Inc.
Slatuary Bronze Foundry
Cir« Perdue ( Lost Wax ) I'rocess
175 GRü£N STREET
BROOKLYN, N. Y.
Ref er en3es: --
Liss Jixj^e iiarrah
2 Button fla^e
ilev York, il. Yl
i^adam Saeton Lacliaise
ö2 ^'ashington Llers
Her York, 1:. Y.
A. Ltirling Haider
51 ^est lüth Ltreet
llev York, :i. Y.
'cpuif^^^ ^-'l^QZ^
As requisitioned.
E. Gargani Sc Sons, Ino ,
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Erna Weill
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80 - ^0 Lefferts Blvd,
Kew Gardens /L.I.
Jan. 26 . 1938.
Kxmst - Nieder Inc.
5o3 £ f 76 St.
New ioi^^r^^tlt
Dear Mr. Nieder ,
As we spoke about on the phone , I send you herewith a copy of the
price list , you gave me for my bronces .
Inktray Budiha
% lo.-
2 " Base
1 50.-
Blocker
1 15.-
Letter opener
1 5.-
3.-
Palr booekends
1 22.-
20.-
small Portrait
1 lo.-
8,-
Faun
% 25.-
22.-
Sm.candlestick clay
$15.-
12.-
Sm.dancing woman
1 15.-
12.-
/vornan wlth plate
$ 15.-
12.-
Crouching woman
1 2ö.-
15.-
Äeepimg " "
$2o.-
15.-
Sm. candlestick bronze35.-
32.-
Large " *
1 50.-
45.-
Spiee Container
$ 60.-
5o.-
Bell
♦ 35.-
«Vornan with childr.
1 30.-
28.- (with wood b
Seated man
$ 45.-
42.-
Alien you have some q
uestion
, please ring me up
I expect a copy(sl
of your li3t as soon as posslble
J?ith kind regards
yours truly
Ira M. Y(»unkiT
President
Henry S. Hendricks
First Vice-Presidcnt
David 11. Sulzberger
Second Vice-Prcsidcnl
Edgar J. Nathan, Jr.
Secretitry
Jewish
I
lAL Service Association, i~
o/tHE CITY OF NEW YORK
Forinerly United Hrbrew Charitie»
71 West 47th Street
Telephone BRyant 9-3670
December 51, 1937
Louis J. Crumbach
Treasurer
Edwin Blun
Associate Treasurer
Frances Taussig
Executive Director
Elinor Blackman
Assistant Executive Director
Mrs. Erna V/eill
80-40 Lefferts Boulevard
Kew Garden s, Long Island
My dear Mrs« T.'eill:
I should be glad if I v.ere eble to iielj you to
dispone of the sculptures of viiich you speak in yonr letter.
Hcv.ever, I think you could get much more assistance frorn the
Office of the Greater Nev. York Coordinating Comirdttee, at
221 VTest 57th Street* In making an appointment for an in-
terview there, you may say that you are doing so at n^ Sug-
gestion»
bincerelj' yourc,
9^
FT/rc
£
^y$
E5TABLI5HED \&)i
i
e go'B^HSA.M Company
BKONZE DIVISION
6 WEST 48th STPwEET - NEW YOKK.
FOUNDlkY AND WOIU^5
PM>VIDENCE RHODE I5LAND
T E L E P H O N E
5KYANT 9-4657
Januf'.ry 3, 1988.
Mrs. Erna Welll,
80-40 Lefferts Boulevard,
Kew Gardens, l. I.
My dear Mrs. Weill:
I have your letter of
Deceraher 31st, and am sorry to say that we
canriot take bronzes cast by another foundry,
due to the fact, that whatever ;ve have here
on exhiblt is subject to the dealers making
selection for consignment to thelr galleries,
and naturally, v-'e could not restrict them,
when they select a piece, by stating that the
bronze could not be sold but that they could
take an order, because when a person selects
a bronze they usually v/ant immediate delivery.
Perhaps, et some later date,
you may have some new rnodels that you plen to
put in bronze, and I vv^ll be very glad to en-
deavor to seil them for you,
Very truly yours,
THE GORHaM COMPANY,
BRONZE DIVISION,
WILLIAM a. DuME.
WJDrDML
V',
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Erna Äelll
80 - 4o Lefferts Blvd
Kew Gardens /L.I.
Febr. 15. 1938.
Lear Mr. Kaader ,
As I never got any price list nor a call from a Mrs. Drogin
and as I want to decide now , which foundry I will prefer ,
I would appreclate , to have your prices very soon .
Please write me too if Mrs. Drogin is interested in my work .
and include some references for your casting work.
Truly yours
f|?N4 Wflll
.^ p f /»^ T
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iiovlaf couple
pHBQlOn
S^'inming
Pud Iha v»ox
Chine r« "aperknife
?*'oh :)Oir ( 1 freier)
'' (Hronco)
** ♦• i aporwelght
aequt F'aun (laoter)
Cod Ol ^;ood Luck (ilaötor)
•• '* (rronce)
Drtaain^ vomA ( t la. ter ^
•• '' ( Brofute )
J««(l;;h Thinker
Snbllboy ieal
V alt IHK
Table '^ell (Srono«)
0 '11 vor)
»^otherhojd
Slave .'^'Ith Tray
Agalfißt thö Ind
hoeplrif*
SlBtln^ an
Slosta ( ^ronce )
ortralt Flaqu« ( 'ilvf^r)
.^abath Tanlle tick
Cup (lironce)
ß
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Sabbath Candlestick.
The Sabbath Candlestick shov/s Mose the leader of the Jev/ish People in the two most
important moments of his life . On the one side you see the young |fose listening
the first time to the voice of God in the burning bush . The Inscription reads :
" Put off thy shoes from off thy feet , for the place whereon thy standest is holy
ground,'» On the other side Mose is receiving the ten commandments on Moixnt Sinai ,
The meaning of the inscription is as follows : "Mose spake and God answered him
oy a voice
if
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Besamim Box.
In accordance with the idea of the Besamim Box which seekwS to create pleasant feelings
towards the Coming vveek.by smelling pleasant spices , I pictured three scenes of the
Bibles , which would reflect this a tmosphere. The first scene sho//s the spys who
were sent out by Mose to search the land of Canaan and who returned with the fruit s
of the land , grapes so rieh and heavy , that they needed two men to carry them •
**The land which we passed through to search it , is an exceeding good land .**
The second scene sho vs Jacow and Rachel at the v/ell , vThere Jacov/ feil in love to liachel
"And Jacow kisi..ed Rachel , and lifted up his voice and wept,"
Thetilird scene haa xu^ xwö theme the Vision of the Sabbath as the bride and Israel as
the bridegroom* "The coals thereof are coals of fire , which has a most vehement flame'*
Kiddush Cup«
On the Kiddush Cup you find the grapes with the inscription of the Berochofor the wine,
a praying Jew celebrating Friday Evening with his child in a joyful raood , then the
old lion of Juda , the symbol of strength .
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Ens^ar- Mad'amn
Since speaklng with jou on l^st tuesrisy m^vc.-h ■•
ip referenoe to mnkirn; olsst^r cf-sts fro-i your brorze moiels^
I arn very s or ry
to sa^ I cpnrot do arythinq; about it at thia time
83 I have e 3 f&mily house and do my own decoratirg and repairs
also tr^king care of 3 Rardens keeps me very busy spring and suaiTier^
If st arytime in the future I can be of service to you In
a
nway I will cheerfully do so, wisbing you
you tbe greatest suocens in your undertakirg,
vours vei'y triily
and sinoerly
George Hampton
9302 50 Ave
s •
E Imhur s t
rr Y
Tele ITA 4 96 i8
f f 9 ^1 Est. f 3200
RoMAM Bronze Works Inc.
STAiUARY imON/E FRKMC H SAND & LOST WAX CASTINGS
FOUNDRY ANb STUDIO
KlNGSIAMD AVF.NUh t\ LUYDK. PLA( E, COROMA, L. I.
SunSIDIARY OK
(jFnfrai. Bronze Corroratiom
Maim Office, LoMG IsLAMo City MY DoCCinber 23 j 1937
liTJ« £• 7iei.ll
80-40 L^ff-erts Eüulevurd
Kcw Gardenn, Lon;;;; Irland
Deur Lrc. 'V/eill;
7fe have gone over our verbal estimates as ;'?;iven you yesterday
and h'orev/ith send yuu a revised lict of prices as foilov/ü;
Standing nude feinale vrith ^^hild lO'^ nigh
Base 5" :: o"
for the 3um of FIFTY DOLi^J^S ^bÖ.OO
Walkinf^ nude inalo 3" high
Bace 5" x 3^"
for the GUi^üf THIRTY TViO DOLUIIS ^32 »00
Dancer female 6'* high
for the sum of T.r£iiTY EIGiIT DOLI^i^.S. $28.00
Mother i Ghild 4" hij^h in plaster
for the sum of KffiLVE DOu^ü.i^ ;ii;12.00
Bell 8" higli - bottoni i" in dianieter
for the suia of THI:':TY TIiR-KE DÜLUiJlS. $33.00
Ash truy 7" in diametnr - ^reer. terr.^ cotta
for the suxii of TüIRTY TIP.EE DOLL.'iRS ;;^33.C0
Gandeljtiok - Both sidos :..odeled - 7" x 12" "Iwcscs"
for tho suiTi of rORTY FI.E DOL^iPX ;;-i5.0G
Spiee box - 91* x 9"
for the 3nm of :^:l.wTY DOLL^J^S ^60. 00
Seated male figure 8" hin;h
Base 8" x 7"
for the sum of I-IFTY FBE D"LUJ^3 iSG.OO
;7eepin[^ v/ornan G" higri
for the sum of ThIRTY Düi^u^vS 'i;30.00
Woman holding plate 7" high
for the sum of ThIF.TY DOLL.V S «•«.*•...««•. ♦ . • . :;r'30. CO
Danciag female 7" high
for the sum of TiiIRTY DuLj^aKü... ^30. 00
^
- 2 -
Croufihing woran 4" 'li^h
Base 6" x 3"
for tlie sum of T;ffiNTY EIGdT DOLiji^^S , ^28.00
Book Ends 5^^ x 6"
Man pressing u door ' I
for tho sum of FCT.TY DOhLxF.Z ^40.00 (pair )
Gandlestisk Clay 7*' x 4" ' < | I
for the sum of TV;ELVE DOLLARS , 412*00
Kneeling female
Ashtray 5" high • i j ■
Oval base 6" x 3*^
for the sum of THIRTY DOLLARS $30.00
Seated boy on slieli 3^" high
for the sum of IJINE DOLxJdx^ |9.00
Chinese Paperv^^eight
2^^;" in diameter
for the suia of TIIHEE DOLLAI^Ü .^3*00
Seated IJude Feriale % '
Terra Cotta 5" high
Base oval 7^* x 4'^
for the sum of THIRTY EIG^:T DOLLiJ^S $38.00
Seated baby - Plaster
No base - 4^' high x 6^* long
for the sum of TYffilJTY EIGHT DOLLARS #28.00
Seated nude female 3** higli
for the sum of TWELVE DOLLARS i>12 .00
Faun Mask - plaster
7^^ X 5"
for the sum of EIOilTSEN DOi^i^tS 5?13.00
Nude female bust - plaster - 3*' high
FOR TiiE Smw OF TUELVE DOLiAtO ;;i)12 ,00
Nude Tlegro vvoiiian
lying do;m 7" x 3" x 3'*
for the sum of T/ffiNTY DOLiARS ^20.00
Candle holder - largest
Bronze cc silverplated
for the sum of SIXTY FIVE DOLLARS , ^f^5,00
Lettor opener
for the sum of FOIJH DOLLYS Hii4.00
i ■
SmaH Portrait heü.d and hand with book
for the sum of TV'^EirrY DOLIaK^ $20.00
Ink tray "Budda"
for the sum of i-'IFTS^üN DOLLtiRS ^15.00
I !
I
Chinese dog for rocker blotter • |
for the sum of T'ffillTY DOLiihJ^S i20.00
I
I
AS verbally statod by the vrriter, v:e will be very g].:. 1 to
call to see you at t^ny timo ut yonr convenienoe if you will tolephone
making an aj--;ointment* Should you prcvide us vrith photo.^raphG, vj-p ^vill
ho -leaced to coo^^ercvto v/ith you in re^i^-rd to placing oome of yonr vrork
Vi'-ith the ralleries.
As the vrriter stated, whiie undoubtedly you may have had
some lovror princ;3 qucted to you, still we foel that if the quality
of workman3hip be taken into consirloration that it /.ill re-yait in
your placing ycur orders /rlth us«
Goliciting your valu?d orders, we are,
Very truly yours,
ROMIN PPON^E VyWKS FTC.
FLHiRS
F. L. liuber
/■■ 1^
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Erna
Weill
4
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80 - 4o Lefffrts ^Ivd
Kew Gardens /L.I.
Dec. 3i. 1937.
Dear Mr. Drake >
ffith reference to your letter of Dec. 17. i I want to make
you a prppositlon as following : you certainly will appreciate
that in this case I would not like to rlsk too much money ,
Therefore I think it would be a very good froposition that
you bring the one or other of my bronzes in your shovn-oom or
to some galleries . If you get somebody who is interested
to buy some of these sculptures , I should be glad to let
them Gast in your foundery . So you will get your comission
of 30 i and in additlon to thöt you can make your regulär
profit in the casting job .
Please let me know 7/hether you are in the position to take
up my proposition as mentioued horo.
Sincerely yours
;-» T t C
l .
Ott *
L^^'Jii1\':'r
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f; \cn
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ESTABLISHED \&)\
fpße gO'Pj^.SAM COMPJANY
BKONZE DIVISION
6
WEST
4 8 TH
S T K E E T
NEW
Y O K K.
FOUNDRsY AND WORJ^S
PRJOVIDENCE fU^ODE I5LAND
T E L E P H O N E
BPOTANT 9-4657
December 17, 1937.
Mrs. E« Weil!,
80-40 Lei'ferts Boulevard,
Kew Gardens, L, I.
Dear Madam:
conver;:^^
arrangem
wlth the
done by
the artl
which is
not buy
ings are
process
asbestos
Vvlth reference to cur recent
tion, we wish to advise that cur
ents lor handiin-' sculptiire are
undersl.anding that the casting bo
the Gorham Company and paid for by
st, v'ho tiien s€.ts the selling: price
subject to 30;:^ commission. We do
any modeis from the sculptors. Gast
made for small worK by a special
of our ovm by means of plaster and
In Order to clarify this for you,
preouming tiiat you had a small bronze to be
cast and the cost of casting was C'Sö.OO, you
vvould pay thib amount when the bronze casting
was made and if you deüired to have -is place
it on sale for you, the usual custom is to
make the sellin,; price about three tlmes the
cost of casting, which would makc this item
$75,00, on which, ait^r the bronze is sold.
er
you deducted the cost of Cc^sting^of t25.00
y/ould leave you a net profit of ^27.50.
Trusting this is clear,
Very truly yours,
VjILLfiSrtr . DRiU<E,
THB. GjRHi.M COMPANY,
',,rifj-D:DML BhOMZE DIVISION.
TieTr
llSteeS of THE METROPOLITAN MUSEUM
OF ART request the pleasure of your Company at
a MEMBERs' PREVIEW of a Special exhibitlon
20TH CENTURY
PAINTERS
a review of
American paintings, water colors, dravvings, and
prints chosen from the Museum's permanent col-
lections. On Thursday evening, June fifteenth,
from eight-thirty to eleven o'clock.
THIS CARD WILL ADMIT TWO
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QUANTITY
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DESCRIPTION
f/<
GRAY A951
MEDIUM GREEN A-1520
CLEAR GLAZE 1ES
CLEAR GLAZE 6646
IMPERIAL DARK BLUE I5ES
WHITE OPAQUE 22ES
TURQUOISE IBiS
POST INS.
PRICE
<»
B. F. DRAKENFELD & CO.. Inc.. 45 Park Place. New York 7. N. Y.
AMOUNT
TOTAL
15
W
15.63
V
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Telephone EVevgreen 9'6033
#
E. GARGANI & SONS, Inc.
Statuary Bronze Foundry
Cire Perdue ( Lost IVax ) Process
275 GRKEN STRKEl
BROOKLYN, N. Y.
( Joatinued)
isri Tray in Piaster
Danoing ToxiBn
jjanJing ^'"onian in Piaster
Lady on Pillor
lady on Pillov in Pin st er
Sitt ing Han
CJup in Plast r
Bell in Silver
Bell in Bronze
4.0J
70.00
24.00
15.00
7.00
25.00
12.00
75.00
Z5.00
Yours very truly
E. aar^ani & Sons, Ino.
GGrÄS
By
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See Instructions on back and
DESTINATION
»^e A. D. L. 5336
comply therewith.
\
The Long Island Rail Road Company
SyixlU iOOM 6 20 ly4ä
4-
The articies descr^bed l elow have boen roceived con-
sigrecJ to you, and nre now re.uJy for delivery. Please
send for same immediately and present this notice and
bül of lading, when froight iscalied fcr. If not callod
for in person, fill out order for delivery on hack hereof.
ARRIVAL NOTICE
Freiqht Bill No.
Freight Bill Date 194
STOP THIS CAR AT
FOR
WEICHT IN TONS
GROSS
TARE
NET
CAR INITIALS AND NUMBER
C. L. Transferred to or L. C. L. Loading No.
Jjom
TO
STATION
STATE
«MMA|cM.tNY
RECONSIGNED TO
STATION
STATE
AUTHORITY
LENGTH OF CAR
ORDERED
FURNISHED
MARKED CAPACITY OF CAH
ORDEREQ
FURNISHEü
DATE
ÜL
i t V
M£
WAYBILL No.
FROM
STATION
• - ■ n ■
X
21 Üj II
STATE
ORIÜIN AND DATE, ORIGINAL CAR, TRANSFER FREIGHT BILL AND PREVIOUS
WAYBILL REFERENCE AND ROUTING WHEN REBILLED.
ROUTE (Show each Junction and Carrier in rojte order to destination of waybill.)
LI. H
CONSIGNEE ANÜ ADDRESS
UiHfk ■■XL^CI
Sh«w "A"
if Agenf s
Routina or
"S" rf
Shipper's
Routing
FÜLL NAME OF SHIPPER. AND, FOR C. O. D. SHIPMENTS, THE STREET AND POST
OFFICE ADDRESS. AND INVOICE NUMBER IF AVAILABLE.
Am Akt CLAfCONC
Moll> u2Nü ;>T
FINAL DESTINATION AND ADDITIONAL ROUTING
INSTRUCTIONS 'REGARDING ICING, VENTILATION, HEATING, MILLINÖ. ETC
IF ICEb, SPECIFY TO WHGM ICiNG SHOULD BE CHARGED).
1
HJk ÜAhüiWcN (sY
WEIGHED
AT
GROSS
TARE
ALLOWANCE
NET
Indicate Uy symbol in Column provided it how weights were obtained for L. C. L. Shipments only.
R— Rail reati Scale. S — Shipper's Tested Weights. E— Estimated— Weigh and Correct. T— Tar'-'f
Classification er Minimum.
DESCRIPTION OF ARTICLES AND MARKS
Commoüity No.
*!
WEIUHT
läAG t-lt^u CLAV U'nOit.
'J2
lÜ.X f«l» -LZINu CWfüMl/ü
$
t)e
V^here 'reight is iinclaimed or undelivi{#AUiTir ^HU it will be subject to storage or
cther dispoiition in accordance with the provisions of Section 4 of tfie terms and conditions ot
It.e bill of lading under which the shipment is transported, whether UNIFORM STRAIGHT
bILL OF LADING or UNIFORM ORDER BILL OF LADING as the case may be.
This shipment is subject to demurrage or storage charges or both for detention beyond
the free time prescribed in the applicable demurrage or storage taritfs duly filed as required
by law, copies of which are on file at this Station; and at the rates named therein.
MAKE CHECK PAYABLE TO THE LONG ISLAND RAIL ROAD COMPANY
(Over)
RATE
FREIGHT
ADVANCES
PREPAID
TAX
TOTAL
«.I
^
^ VAmount tu
q2C be Paid
Freight Age
.,t ^4^1$
)
PLACE SPECIAL SERVICE
PASTERS
DESTINATION FOR AUDITOR
(TO TRAVEL WITH SHIPMENT.)
'-Mffi \. D. L. ^6Mt
The
Long Island Rail Road Company
local freight waybill
ä>j|xlU 400M 6 20 1M8
TO BE USED FOR SINGLE CONSIGNMENTS, CARLOAD AND LESS CARLOAD-LOCAL ONLY
Freight Bill Date 194
STOP THIS CAR AT
WEIGHT IN TONS
FOR
CAR INITIALS AND NUMBER
ü
C. L Traiiöferröd to or L. C L, Loadnig Nn
0524
TO
STATION
STATE
JAVlA ICALINY
RECONSIGNED TO
STATION
STATE
AUTHORITY
LENGTH OF CAR
ORDERED
FURNISHED
MARKED CAPACITY OF CAR
ORDEREÜ
FURNISHED
DATE
12 7 4ÖAJ0
WAYBILl. Nu.
2l8i?7l
tJtU^^m,w
FRÜM
STATION
STATE
INOPLS IM)
ORIGIN AND DATE. ORIGINAL CAR, TRANSFER FREIGHT BILL AND PREVIOUS
WAYBILL REFERENCE AND ROUTING WHEN REBILLED.
ROUTE (Show oach Junction and Carrier in route order to destination of waybiil.)
LIkK
LLQCi
Show "A"
if Agent's
Routiny or
"S" if
Shipper's
Routii'Q
CONSIGNEE AND ADDRESS
I 16II9 Ö2ND ST
FINAL DESTINATION AND ADDITIONAL ROUTING
INSTRUCTIONS (REGARDING ICING, VENTILATION, HEATING. MILlING, ETC.
IF ICED, SPECIFY TO WHOM ICING SHOULD ÖE CHARGED).
FÜLL NAME OF SHIPPER, AND, FOR C O. D SHIPMENTS, THE STREET AND POST
OFFICE ADDRESS. AND INVOICE NUMBER IF AVAILABLF..
AMR '.AKT CLAYCONC
NcW GAHONEN NY
WtiQHEO
AT
GROSS
TARE
ALLOWANCE
NET
Indif ate bv symbol m Column provided • how weights were obtained for L. C. L. Shipments only.
R-^-F^ailroad Scale. S— Shipper's Tested Weights. E— Estimated-- Weigh and Correct. T— Tanff
Clasüi::c;ation or Minimum.
DESCRIPTION OF ARTICLES AND MARKS
Comrnodity No.
IBAG FIRd CLAV ÜkUD £,
IBX FHIT GLZiNG Cf^l>U\IÜS
(IST) TRANSFER
U A bHr (21^14 TRANSFER
:3RD) TRAN6f E.^
Ocstination iMif.W Stainp Hefe:M Station Numbsr j J
Namg, Uale \^^j{>.Lil, Frei£lit tili i.üniüer Oi.J »i.rTioü.K.
JUNCTiON AGENTS' STAMPS AND ALL YARD STAMPS TO BE PLACED ON BACK OF WAYBILL
THE LONG ISLAND RAIL ROAD COMPANY
FOR CONSIGNOR IF PREPAfD
KOR CONSIGNEE fF COLLFCT
'^^ AOL. 53.%
FRE:GHT BILL
FOR CHAHGES ON ARTICLES TRANSPORTED
(OR TOBE rRAMSPORrCDi
MAKE CHECK PA YABLE TO JHE LONG (SLAND RAIL ROAD < OMPANY
FrelcjM B'H No.
STOP TN IS CAR AT
FOR
CAR INITIALS AND NUMBER
Frelght Bill Date
^'unnj l^' roNs
Qn086 i TAR£
NET
C. L. rrtn«f«rr«d to or U. C. L. Lo#<fina No
o^aj
.194
LENÜTH OF CAR
ORDERE D
FURNISHED
. \hD CAPACITY OF CAR
<>i:,yc.RED
DATE
FURNISHED
TO
«TATION
STATE
JA^i>^ Iv-ALl NY
12 / 4v^>WÜ
WAYBlLk No.
FROM
21 6p 71
STATION
STATE
li^DPL^ IMJ
RECONSIGNED TO
STATION
STATE
AUTHORITY
ROUTE (Show each Junction and Carrier in rout9 Order to destmation of wayb
LI;^.R
iii.)
CONSIGNEE AND ADDRESS
aRfiÄ .,uL..C "J
Sfiow "A"
if Agent's
Routing or
"S'" f
Shipper'Jf
Routinq
w^V°E!lL*B\^..^RY,^te°SÄ'^RÖüfrN'?i 'wT^Van^l'^'"' '''' '^° ''"'^^'«^3
FÜLL MAME OF SH •I-'PER, AND, FOR C. O. D. SHIPMENTS THE STREET AND POST
OFFICE ADDRESS, *.ND INVOICE NUMBER IF AVAILABlI. ' ""^ *' ' "^^"^ '^^° ^^^'^
AMR AHT CLAYCOiMC
Mölli^ u2M0 öT
FINAL DESTINATION AND ADDITIONAL ROUTING
INSTRUCTIONS (REGARDING (GING, VENTILATION, HEATING. MILLING ETC
IF ICED. SPECIFY TO WHOM ICING SHOULD BE CHARGED;
NiiWf uAKüiMcN ..Y
AT
GROSS
TARE
WifQKEO
ALLOWANCE
MET
DESCRIPTION OF ARTICLES AND MARKS
Commoflity No.
Indicate by symbol in Column provided • how weights were obtained for L. C. L. Shipmentsonly.
R— Railfpad Scjde. S-t;SjiiDper's Tested Weiyhts. E— Estimated— Weigh and Correct. T— Tariff
Classification or Minimum.
• I weTuht
IbAb FIku CLAV CnUDlL
Ib
A
F\\ n .LZINo Ci,\
RATE
FREIGHT
1>2
UNü
;3
D'
ADVANCES
M
b'
TAX
TOTAL
Exceptions to freight charges or ccndition of lading
should be presented promptly to Freight Agent.
PREPAID
Received payment for the Company,
T^Jl
194
Freight Agent
Araöunt to
be Paid
$
THE LONG ISLAIMD :--lAlL ROAD COMPANY
-116 555 SC03.82E S
m)/kxf6\MNGES OR REFUNDS
//VmtUOUT THIS SLIP
PAINTS
{ DAPOPORT
lx«'<'ELLER INC.
WALL
PAPER
163-44 Jamaica Ave.
JAMAICA 3, N. Y.
REpublic 9-7900
47 S. Main St. 287 Front St.
FREEPORT, L. I. HEMPSTEAD. L. I.
FReeport 8-0160 Hempstead 2900
lyj^^
70)7744
SEE OTHER SIDE
MFO. BY THE BALTIMORK SALE3B00K CO.. BALTIMORE 28. MO.
/^rA^^
NO EXCHANGES OR REFUNDS
WITHOUT THIS SLIP
DAPOPORT,
163-44 Jamaica Ave.
JAMAICA 3. N. Y.
REpublic 9-7900
47 S. Main St.
FREEPORT, L. I.
FReeport 8-0160
287 Front St.
HEMPSTEAD, L. I.
Hempstead 2900
Distributors of:
DUPONT PAINTS ^
^ IMPERIAL WASHABLE WALL PAPER
DUTCH BOY PRODUCTS
CABOT'S PAINTS
ARTISTS' SUPPLIES
and
Many Other Reputable
- Paint Products
7(1)7745 MFD. BY THE BALTIMORE 8AIESBO0K CO.. BALTIMORE 29. MD«
/
C^Zy^^
o2^r Ö^
l/'^^t^
?
-^/~
1? /j
y.
V-.*
>*-
iiladelpnia it was decided to mcrease the d
At a meeting of the Council in Philadelphia it was decided to increase tne dues to the
amount shown above due to higher cost of printing and the decision to print 12 issues
oi the Journal per year. The fiscal year now begins Jan. Ist instead of June Ist, making
this form ol invoice necessary.
Dues may be paid through December 31, 1948 or to December 31, 1949. New membership
Cards will be mailed only upon receipt of 1949 dues.
/(^vfo^ //f. ^^
President fn/AJ^^ Secretary -Treasurer
7//
Jean Leonard
Cziamia cStucL
CO
Instructions - Pottery Supplies - Electric Kilns
Clays - Glazes - Complete Poured Pieces
96-24 CORONA AVE.
HA. 6-4120
CORONA, L. I., N. Y.
Customer's
Order No. .
Name
nr:
.Dale I'M^....lU..
19
Address
llL.£2ll£l:::2L:±r ^li^^ '
SOLD BY
CASH
QUAN.
DESCRIPTION
■ /c^..>/^'ir.::c,
</ li
F
^,
u
A-f j^
F
ALL CLAIMS AND RETURNED GOODS MUST BE ACCOxMPANIED BY THIS BILL
QUANTITY
125 LBS MOI
75 " DRM
1 DOZ Sl
DESCRIPTION
ST MONMOUTH ART BODY
JORDAN ART BODY
R STILTS #12
4>
PRICE
.06
.075
.60
TRUCKING CHARGES
B. F. DRAKENFELD & CO.. Inc.. 4S Park Place. New York 7, N. Y.
AMOUNT
,0
3
.60
13.73
i
TOTAL
]k.j6
Jean Leonard
Gzxa
mia
chtiuL
CO
Instructions - Pottery Supplies - Electric Kilns
Clays - Glazes - Complete Poured Pieces
SG-24 CORONA AVE.
HA. 6-4120
Customer's
Order No CA
V
Name .
Address
CORONA. L. I„ N. Y.
.Dat^ ./^...-T. : h.:r
i) }
u -i ,] y y .
19
Q..!.2..;..Lj}.'.'f
SOLD BY
QUAN.
C. O. D.
DESCRIPTION
.1. j
Name.
dutU 2>eHice jßauen.
CEl^/iMIC STUDIO
135-06 ^K^tK\QK AVENUE
JAMAICA, N. Y.
JA/V^AICA 3-5658
^^'
.^..
-^ r
H :'<>
19.
Address
EXPIRATION
MAY 22
1950
TERM
T
POLICY NUMBER
BINDER
COMPANY
HOME
COVERAGE
APRIL 24, 1950
FINE ARTS FLOATER COVER ING
IN THE STATE OF NEW YORK
FRENKEL & CO., Inc.
EIGHTY MAIDEN LANE
NEW YORK 7. N. Y.
PAID BY CHECK NO..
DATF,
AMOUNT
ANYWHERE . 135-
MTGEE;
REMIUM
5.00
GIRL SCOUT COUNCIL OF GREATER NEW YORK, Inc.
133 EAST Ö2nd STREET, N. Y. 21 TEmpleton 8-3200
ANNUAL COOKIE SÄLE
PURCHASER'S RECEIPT:
@ 35c $.
Scouf's füll name:
boxes of Cookies
Troop No -r/----"--?!?-.^.....^......
Borough.-..
If you do not recelve your Cookies within 60 days
PLEASE NOTIFY US
Book No
DEAR CUSTOMER:
The Scout from whom
you ordered Cookies is
one of 40,000 Girl Scouts
in Greater New York.
She is doing her bit to
help reach our goal of
$500,000. However, the
sale of Cookies alone
cannot do it and right
now our Volunteer Cam-
paign Workers ore in
your neighborhood ask-
ing for contributions to
Support Girl Scouting in
Greater New York. We
hope if you are ap-
proached you will want
to give.
HAvemeyer 6-2636
Howard S. Cältoa
Upho/sterer and Decorator
Slip Covers and Drapery
Made to Order
42-02 LAYTON STREET
ELMHURST, L. I.
STATEMENT
ROMA PLASTIUNA
PLIATEX FLUID RUBBER
DELLA ROBBIA MIRACLE CLAY
SCULPTURC ACCCSSORICS
Kino
NATIONAL ARTS BUILDING
304 WEST 42nd STREET
NEW YORK 18. N. Y.
r«^e^
LON6ACRE 3-3330
DATE
PLEASE INDICATE INVOICE NUMBER WHEN MAKING REMITTANCE.
INV. NO.
/
/
/
/
INV. DATE
ßf/L
>->
tJL
'/^i
0^^
(/!u^
W
INV. AMT.
CREDITS
BALANCE
/^f^ -
:f^
<^r
PLEASE COMPARE WITH YOUR RECORDS
IF ANY DIFFERBNCE COMMUNICATE WITH US IMMEDIATELY
VI LAGE MJ CENTER
(j4
ee-
r
Thank you for your contribution, We are glad to
enroll you as a member of the Village Art Center
and hope you will find the exhibitions we have
planned and the work we propose to do both con-
structive and interesting.
President
Jean Leonard
e
z*iamLC
<:^tudi
LO
Instructions - Pottery Supplies - Electric Kilns
Clays - Glazes - Complete Poured Pieces
96-?.4 CORONA AVE,
HA. 6-4120
CORONA, T.. I... N, Y.
Customer's ..-■ ; t
Order No ./-V Dat^
Name
\ A .^ -< ..r /
19
Address
SOLD BY
QUAN.
/
/
♦...
;•
/ j
CASH
C. O. D.
CHARGE
Dr.S(J<Ii'i ION
-^M^l/f
uPU
PRICE
AMOÜNT
/
,(/(}
A »
0
(ttnfform DoiBtrtU Straliht Bill «f Ladlng. adopted by Carrlers In Olllelal, Soathern, Western and Illinois Classlfleatlon Terrltorles. March 15, 1922, as amendeii Angnst 1, 1930 and Jane 15, 1941.)
Uniform Straight Bill of Lading— Original—Not Negotiable,
RECEIVED, subject to the classifications and tariffs in effect on the date of the issue of this Bill of Lading,
V. M. Co. No.
Your No.
FROM Vermont Marble Company shjpper-. no. C/20b Agent-. no
10418 DIR At CENTEF RUTUf^D VT 8/23/51 ^^s
WE LCH
'■"^M
^'^Äfi^#^^-Ör:P^^'^^^'':^
R. R. Co.
f'^4^&g^^'l?v^^T^^?#'^^^'^ii:/^
ihe property descrltrid be'ow, ,n opooront ^ooH ord^r, «xc^pt o-, nofod fcon»rn»5 ond rondi»lor of contenis of pockage* unknown), morkpH, consign»d, and df^tined a^ indica'ed below, whicK said Company (ihe word
tomponv being under^tood »hroughoul «his contract o» menn.ng ony porsor or corpomtlon m po^se\Oon of »he property under ihe controc») agrees to cnrry lo its u\ual place of delivery ot soid deUinofion, if on its
own read or its o-r woter Im», otherwlsn to deliver to cother rn'r.»r on the 'o.ite to sold deitinotion. I» is mutuolly ogreed, os »o eoch corrlc of o'l of ony of soid property over oll o' ony portion «' '""<' •;<>"'*
to destinotion, o"d <is to eacK porty o» ony time interest-d in oM or nny of soid property, thot every service to be performed herewnder shoH be subiec» »o oH tfie condilions rot probibited bv low, wheffier printed
or wnttr-n, herein contoined. inc'ijding tbe conditionj on bock fiereof, whicH ore fiereby ogreed to by the shioper and occepted for himself and Ki$ assignt.
Consigned to
Destination
MFS ERNA V/EILL
116^15 82ND DFIVE
135 AUDLEY ST
KEW GAR DENS NEW YORK
State of
(
Mail or street address of consignee — For purposes of notification only.
)
County of
Route
?.€ LCH
Delivering Carrier
No. of Packages
Boxes
Grates
1
Pleces
Car Initial
Car No.
Description of Articles, Special Marks
and Exceptions
Marble SAND RUBBED
tt
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•WEICHT
(Sub. to Cor.)
260
Class or
Rate
Chk.
Col.
*lt the shlpment m«ves between two ports bf a cairier bf water, the law requirea tJiat the bill of lading shall State wliethcr it is "carrier's or shipper's wciglit."
NOTE— Where the rate is dependent on value, shippers are required to State specifically in writing the apfrccd or dcclared value
of the property. The agreed or declared value of the property is hereby specifically stated by the shipper to be not exceeding »
.per.
Vermont Marble Company, shipper,Per
Permanent post-office address of shipper, PROCTOR, VERMONT
Form 561 I5M.3-5I
Subject to Section 7 of conditions,
if this sliipment is to be delivered to
the consignee without reconrse on
the consignor, the consignor shall
sign the following statement:
The carrier shall not make delivery
of this shipment without payment of
freight and all other lawful charges.
(Signature of Consignor.)
If charges are to be prepaid, write
or stamp here, "To be Prepaid."
PFEP/ilD
Received $
to apply in propayment of ihe charges
on the property describcd hcrcon.
Agent or Cashier
Per
(The signature here acknowledges
only the amount prepaid.)
Charges Advanced:
^ -/-^yr^^ cj ^ AgPnt, Per.
1
D
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Jean Leon ard
Csramic ^tudLo
Instructions - Pottery Supplies - Electric Kilns
Clays - Glazes - Complete Poured Pieces
96-24 CORONA AVE.
HA. 6-4120
Customer's
Order No. .
Name
Address
SOLD BY
QUAN.
cy
/
—^
XJORONA. L. I.. N. Y.
l.i.
:£'.l iL
,19
4 ^:
/ > /' f '*
/
CASH
C. O. D.
1/
CHARGE
DESCRIPTION
PRICE AMOUNT
Xf V
■^r
V
*-'-u\
ALL CLAIMS AND RETURNED GOODS MUST BE ACCOMPANIED BY THIS BILL
Jean Leonard
(ls,\amia <:htiuUo
Instructions - Pottery Supplies - Electric Kilns
Clays - Glazes - Complete Poured Pieces
96-24 CORONA AVE.
HA. 6-4120
CORONA, L. I., N. Y.
Customer's
Order No. .
* ß
.kDaie
Name ....
Address
IIm:...m.^ ....
SOLD BY
CASH
C.
QUAN.
DESCRIPTION
19
CHARGE
AMOUNT
ALL CLAIMS AND RETURxNED GOODS MUST BE ACCOMPANIED BY THIS BILL
@
A R T I S T S
EQUITY ASSOCIATION
New York Chapter
NEW YORK. N. Y. ^^^ "^^ *
Mr3. Hlrna IVelU
135 Audley 3t.
Kew ;)ardeng 15. :!•
Y*
(j?
•qI "^h
D U E 3
195.^-53
Arresrs 1951-52
(Paid ^,^3.00 in Oct.Wö":
Dues paid by professional Artists are deductible on Income Tax
"To Protect and improre the economic Status of the sculptor, the pahiter and the graphic artist."
NEW YORK SOCIETY OF CRAFTSMEN
DUES FOR MEMBERSHIP ^
YEAR ENDING MARCH 1 igVV $
/
PROFESSIONAL 1 | NON PRO F P SSION A L j yi
A N N U A l. I I A N N U A l I I
PLEASE REMIT TO
/^^'^^
,ls V.vs^ ^ ' ■■'- ^^<^'^
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PAYMENT RECEIVED
<i:;w
TREAS
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ENCLOSE THIS CARD WITH YOUR REMITTANCE. IF ADDRESS IS NOT CORRECT PLEASE CHANCE.
DUES ARE CHARGED UNLESS WRITTEN RESIGNATION IS RECEIVED BEFORE MARCH FIRST
m
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Received
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Address.
NO. PCS.
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CONSIGNF"
SHEPHARD WAREHOUSES, INC.
667 WASHINGTON STREET, NEW YORK 14, N. Y.
Teuephones CHelsea 3-7620
if /ii^jU.eS.
Transferred to
Received from.
1°"' ///^7
DESCRIPTION
JJ^
KKCEIVEI) ALL THK ABOVE ARTK LES IN GOÜD CONLUTIüN
rt
21 - 7622
NO.
-^t^^y^
/a^l^j^
XPi;l/
/i..ßcA ^^y^^
WEIGHT
RATE
SPECIFY ON Al^^IPMENTS
IF PREPAID^RCOLLECT
COLLECT D
Prep'd Cash Q
Prep'dChge. □
ADVANCE n
TAX
C. 0. D. G
C. 0. D. FEE
TOTAL
3.
i^S
<^7y
i?X
>-! \ ^ /
<.
Date Del'v'd.
1_ Driver.
Rablway Kxpress Aoency
LrrooRroBjLTJSJD
>^.
/^<^
UNIFORM EXPRESS RECEIPT— NON-NEGOTIABLE— TERMS AND CONDITIONJ-^
b
o
1. Th« nrovipiond of thin receipt, shs.ll inu'o to th«,henefit of «nd be
binrlitiK upou the coiu:iRiu)r, tbe oonpifffieo and all «^arriers haudling this
eliipmcnt aud shall apply to any recoufiijauient, or return thereof.
1. \n cor)8idoration of thp rnte rliarRfvl for carrving «aid propprty.
whiph is depcudent uyon the value thcirc«f and in baped u»>on au agrfed
v.iluHticM of uot exoo«<din({ tifty dollur« for nny Bhipmeut of 100 pouuds or
l«i-a aud uot escpodin« fiiiy ceatP per pouud, actual weieht, for any «hip-
luiMit in exccss of 100 Dounda, unless t\ groater vulue is declared at tue
timo (jf sbipmcnt, the snipper a(J:reo^^ that the Company shüll not be liable
iu any event for ruore fhan fifty dollars for any shipnient of 100 pound-'-
<ir le«s, or for more tban fifty ccnt.s per pound. nctiial weight, for uny
t;hi')iueDt weigbinB more than 100 pounds, unless a r;re8ler value is
-tat«! herein. Unless a croater value if declarcd and stated herrin tho
Bhippor agrees tbat the value of tho phipment is as last above «et out
ancf ths.t tue liability of tho Company shall la no event exceed auch value.
3. Ualess causi^d by its owa negligence or tbat of its agents. the
Company .sIikII not be liable for —
a Dlfferente in weight or uuality caused by sbrinkage, leakauei
or evaporation.
Tho death, iujury, or escapn of live f reight.
LosH of money. buliion, bonds, couponn, jewelry, i-ri^oiouH
Htornis, valuc.ble papwrs, or other matter of extriiorrlinary value,
unless such artides are oaumerated in the receipt.
4. UulesB cauwed in whole or in nart by its own nei;ligenoe or that
of it« agtnils, the Company shall not be liable for lona, damage or do^ay
oaUHed ny —
a The aot or d«fauit of the phipper or ownor.
b Tho na'.ure of ibe prop^rty. or defeot or inherent vice'therem.
c linpropcr «»r insiifficionf, packiug, securing, or addrossing.
d Tho Act of Clofl, public enemiee, authority of law, quarantine,
riots, Btiiktv^, perils of navigation, the bazards or danprers iu-
cidenfc to ii state «f war, or occurrence in customs warehouse.
e The exBinination by, or partial dclivery to tho consigneo of
C.O.D. BhipmentH.
f lelivory under instruntions of consipnor or conpjsrno© at 8ta-
t onn wher« thern is no ngent of the corupany afier 8ucli pbip-
mcutH hiivo becn lef t .it such .stations.
5. PMckagcs containin« fraj^ilo nrticlos or artides conpiRting wholly
or in part of ßlas« tnust ht! .^o iinukod and bo j>Hcked so aa to lußuro
Bafo transportatioa >)y cxprotss with ordinary »•.ire.
fi. "Wlion ron: ÜCTi-ed tri ji pl-icp at wliich the oxpresf« rornpany has no
olluT,, -ii'piiKMitis ir-.ust. bo niHikcd uith the n.iine (;1 (b»r rsjire^s stntion
vi wliicb dolivory \vil! b« ji'-i-.opti'd or l>o niHtked witb forwurding diroo
tion« if lo Ko h.iyond tiwi exprost' coiiipiiny',« üue by a cari ler otbor thun
aa cxproiiä Company, if uot so tuarkod bhipmuuie will be rcfuaeu.
7. Ab coQditioDfl proeedent to recovery clainiH must be made In
writing to the originating or delivering carrier witbin uine nioutb« after
dulivery of the propertv or, in case of faiiure to make dclivery. (hon
witbin niue rnonths and fifteen days after date of pbipmeut! aud fuiff«
HhHll be inptituted only witbin two years and one day afier the date
wtiun notine in writing in given by the carrier to the claiuiant that ihe
carrier bas difiallowod the daim or auy part or parta thereof.
8. If any C. O. D. is not paid witbin thirty dayn after notipe of non-
delivory has been muilrd to tne shipper the Company may at its Option
return the proporty to the consignor.
0. Free delivery will not bo madeatpointswhere the Company tnain-
tains no delivery servicei at nnints where delivery servioe is luaintainefl
fre«: delivery will not be made at addresses beyond the establisbed and
published delivery liirits,
Special Additional Provislons as to Shipmcnts Forwarded by VcMel
froin the United States to Placcs in Foreign Countrics.
10. If the destination Bpcfilied in tbia receipt is in a foreign country,
tbe firopcrty covwred bereby shall, as to transit over occan routes and by
tbfir foreign connectiouö to such destination. be subject to all the terms
iiml conditions of the receipt« or bills of lading of ocean carriers a.s ac-
t f.pted by tht> Company for tho shiprnent, aad of foreign carriers partic»-
raiinjj in the transportation, and a.s to .such tran.nit i."? accepted for trans-
poitatioD and delivery subject to the ;icts, ladings, la'va. regulations. and
cu.stoms of over.sep. and foreign carriers, custodians, and governments,
thcir employeed and agenta.
11. The Company shall not be üable for anV 1o«b, damage. .or delsy
to '<aid sbipmeut over ocean rouie.s and tbeir foreign coanectious, tbo
destinatirni of wbicb is in a foreign country. oecurring outbido tbe bound-
ario-s of the United States, wbicn may bo occasiouod by any huch ai-ts.
ladings, law.s. rcKularions, or (^^.^to^J^^. Claims for los.-*, damage or dcl»y
mu.st be madf^ in writinii; to tbo otirrier at the port of export or to the
carrier is.>iuing this roreipt, witbin uine montbs after delivery of the
property at .said port or in case of faiiure to make such delivery tuen
witnin nine iriontns anti fifteen days after date of sbuiment; and clninis
igainst said delivering or issuing carrier. shall ,be dcemcd, to
so m«'<> ..».....-u ,.,...-. .^-... „ .... ..........^ — .„,.-,_ j-
h;ivn Veen tüiide acainst any «nrricr wbich may ne Manie hcreunucr.
Su t..s sball b(! institutod only witbin two year.s. and one djiy after tbe
date wben notice in writinK ih given by tbe rarnor to th»; c lammiit, that
(he car:i<»r ba;i di.-<allowrd tho 'laiin or any part.or pnrts thereof. vvbere
clHims iiro not so nuido. ond 'o^r .«uit.s are not lUKtitutcd tbereon in ac-
oordancc witb tbe foregoin;; provisions, the carrier bhall not be lieble.
12. Tt ip hereby aprrccd that Tho property dcstinod to such foreign
rountrio« and ii.-.s«>h.-;alilo wiih foreign governmental or cu.stoms flutic; ,
I ^xes or char««.«. nuiy hn . toppod in trän it at foreign ports, frontiers or
<|e[><)sii';ri«s, :iii(! therc held pendin;; examination, a- .<e.v.sinent.s aud Poy.:
nients. aurj sutli dutics and charges. when advanced by the Company bhall
bocouie 4. liuu ou tbe property.
To DesllDAtion OSos
"tCc^t^^ÄX^
t- - -» • f Y " " ■ • * • * • '
" — f\\ \ R gETTHIITp^Jr
.i i ■» k /i
'■w^
or NüD-A£enc7 Destioatioo
Name of Forwwdlng Offlre-
(S51-D) Eii0iewood, N.J.
Artide
L>ubcripiloo
Shippcr
Sbipper's Stre
V OUIDDCD»
PREPAID
(Original)
SHIPPER'S PREPAID RECEIPT
NOTEy— Tlie Company will not pay over $10. In cast? of loss. or 50 cents per pound, actual weight, for any
Shipmect in excess of 100 potLnds, unless a greaLer value is declarcd and charges for such greater value pald.
Hadl-w AY Express Aoency
INCüRPORATED
Rccelved sbipmcnt described berecn, suDject to tbe Classificatious and Tariffs In effect on the date bercof, t«1u«
bereia deciared by yhipper to be that enternd in space hereoii readlng "Declared Value," which the Company
agrees to carry lipon tbe terms and conditions printed hereon, to wtiich the Shlpper agrees and aa evidenc»
thereof acccpUä this receipt.
^
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1^ 0««UutloB OOke
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n»»**pw^p#wp»»<!r^"^
CMifliene«
V"
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Street Address or Non-Ae«ncy Dcstinalion>-
Y-C 7
105
Receipt Number
■4^
4'
Name üf Forwarding Office-
3.9 «-33^02
/J5T-D) Englew/ood, N. J.
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▲rtlcle
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, Descriplioi^ ./
BbTpper
r
Shlpper's Street Address,
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B^iptfortolleC'
■mmifTfCtiarges
Prepaid
ccl^ccd Valüc,
Dccl^ccd
Welgbt
/ / Y
Cia» I Paid Beyond
XX J XXX
^Wfl
W or Rate
Price^ by
Value C.\itiXfe%
I
Exyress Cuärgea
i T-
) ^.* >.
'i&efrigeraiion Chargea
Lax
}
Storage
Total
TT (STD.
raymcnt received by BiVILWAY EXPRÄSS AOENCY, Inc. for charges eutcrc^ btreon.
.*.■ /n l-i.i-' ■/-:■ •
■'I
C. O. D. Service CUarge
(Fönn"6ü83)
*'k*
For thc Company
t
.xVILWAV KXPRESS AgENCY
To DestlnatloQ Offlee
Röcelpt for Ch/fÖJs.SN^o'^^cted From Consignee
Reoelpl Namb«c
Consisnee
g, '^.e.cJßjC
Btrcei Address cT Non .\Keii£;y Destiikatloo
WTcJtJu^ -cCx
/ 3001 \
\ 8-50 /
Printed in U.S.A.
Thank you — We appreciate your patronage.
i^'.2^.^}fL
.Hour
rsf
/yr^ 3
C. 0. D. £cr?icti Ciiafies
löTAL
tJCP
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JUN 5
HOWE
FRENKEL & CO., Inc.
E'GHTY MAIDEN LANE
COVERAGE
MAY 9, ^9kQ - f^lNE ARTS FLÜATER
COVER ING ANYWHERE IN THE CITY
OF NEW YORK
AMOUNT
PREMIUM
800.
12.00
PAID BY CHECK NO.
MTGEE;
DATE.,
/i^ mi li^
lt\\^ vj^fU COLlw" "^''^
1 ' It' 10
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Püone 837-4210 FRANCIS SCHWARZ & SON
SCHWARZ HARDWARE
GENERAL HARDWARE &■ PAINTS
1338 Teancck Rdi 5«^« Englcwoodj N* J. 07666
Uolc
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Sold to
Adflrvi*«
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HUbbard 7-5780
presentations and awards
DOLACK & DOLACK
engraving and engroved products
185 main street
Hackensack, New Jersey
ifomers
ler No
Dafe
iress-
>LD BY
CASH
C. 0. D.
CHARGE
ON ACCT.
MOSE. RETD. PAID OUT
janJity
DESCRIPTICN
/ ^Y3-.
l
,/dl^ y7i &^Ay(i^rä^<^t^^ /5^
PRICE
r"
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AMOUNT
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44
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All claims and retumed soods MU5T be accompamed by tbis bill.
Rec d hy
Fhones 836
3160
3161
TEANECK LUMBER & SUPPLY CO.
ROOFING
SASH
DOORS
MILLWORK
TRIM
SCREENS
BUILDING MATERIALS
WATER STREET & WEST SHORE R. R.
TEANECK, N. J. 07666
CEMENT
LIME
ROCKLATH
PLASTER
BRICK
SEWER PIPE
Customer's
Order No.»
M.
Address.
.Date,.
^M i>ö — 'i^yic.iic
r SOLD BY
CASH
C. 0. D.
CHARGE
ON ACCT.
MDSE. RETD.
PAID OUT
^
QUAM.
DESCRIPTION
PRICE
AMOUNT
^
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€ ■ ^ . ^ . . . ä i -^
/
7f
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All Claims and returned goods MUST be accompanied by this bill.
Ko.D 2490
Received by.
Aoon« Z>atafr*phla Butln««* Syatams, Inc., South HackanMck, N. J.
Form AR 58
CiffircaiTW/iUe 'pinea and ^/le y^ardst^ooda a SfieciaÜy
INDUSTRIAL LUHBCR
SPECIAL WOOOWORKINa :.^
ORY KILNS
BERCO. C 3039
FULTON STREET • PATERSON, N.J. 07509
Area Code 201-742 8300
Name L^ /f/'f^
y-Datey— ^
/A
J^
Address
-jf^vec/C ^A^
Delivered
tt
Customer
Order No.
Shop Order No.
FOR DEDUCTION WILL NOT BE ALLOWED UNLESS REPORTED WITHIN 3 DAYS AFTER DELIVERY OF MATERIALS
7/ .^'c^ 3Ve./xyq..y
Received by
CENTER LUMBER COMPANY
85 Fulton Street, Paterson, N. J. 07509 Area Code 201-742-8300
• «
OT
ASE SIGN AND RETURN YEI.LO^
» r r" ^^, 'wO 'v.'' i
L-'O R
VERIFICATION CF YOUR ORDE
A
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IN
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ADDITIONAL INFORMATION \
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PEKTINEN
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O YOÜR ORDER
WORK V/ILL PROCEED üi^N RECEIPT OE
^-^
EQUIRED COPY
CODE 516, WELLS 5-8780
CABLE: AVSHAW
AVNET SHAW
MEMBER OF
THE AVNET INC. COMPLEX
COMMERCIAL STREET • ENGINEERS HILL • PLAINVIEW, L.I., N.Y.
RECEIVEDFROM _ DATE...
ADDRESS
Y'^^'fc'^-"'^:^
• • _Ä^
■^ ■' '(
..,.........].....
PHONE
DEPOSIT.
BILLING # WT.:
MODEL
ESTIMATE
MOLD
.0^ -f
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/
CASTING .^..
WAX
DELIVERY DATE /
t ^C!^-
NO. OF VWES.
'«■"■^--/JSy
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f,!^ ,?t " "^■y-'/y..^/ Y<i
SHIPVIA
CHASE
t-f',"'"-^
PATINA.
MOUNT.
Clients' modeis, designs, wax direct modeis, and other
property left at or sent to the Avnet-Shaw premises are
accepted entirely at the clients' risk. Those desiring
protection are advised to arrange insurance at their own
expense.
RECEIPT # C
^858
Modern Art Foundry, Inc.
18-TO 41ST STREET
LONO ISLAND CITY, N. Y. 11105
(212) 728-2030
<^:ei«w^8k:;^^:^^>
jmmm.
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fci ®
August 1, 1969
Mrs. Erna Weill
886 Alpine Drive
Teaneck, New Jersey
Dear Mrs. Weill:
The cost to cast and finish in bronze the 12" high head
of Dr. Pauling will be S250.00.
Thank you for giving us the opportunity of quoting you a
price. Hoping to hear from you in the near future.
JCS:bl
Sincerely ,
nODEEIJ A51? FOUNDRY, INC.
n C.
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No.
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SOLD BY
CASH
C. 0. D.
CHARGE
ON ACCT. 1 MOSE. RETD. PÄD GUT
QUAN.
DESCRIP7.0N
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ALL CLAIMS AND RETURNED GOOOS MUST B£ ACCOM-ANicO EY THIS ÜLL
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H. SCHABERG
DI 2-6358
To HACKENSACK
BLUE PRINT SHOP, or
Architects and Ettgineers Supplies
Blue Prints • Photostat Prints • B & W Prints
108 Anderson Street HACKENSACK. N. J.
Cusfomer's
Order
:z^
Phorie
.No
-Dafe.
<^'/>-/ 196-^
/
Address
Please keep this copy for reference.
Total
3051
Rec'd by
MILLER REGISTER COMPANY, INC..
V
280 c/infon p/ace • hackensack • ne\A/ Jersey • hubbarc/ 7-35/6
/^^^^^ ?
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33 .(To
ff tiaViS • 2dO c/infon place • hacken sack* new Jersey • hubbarof 7-35/6
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11870
GOODMAN'S HARDWARE CO.
Hardware -- Gifts — Houseware
1415 QUEEN ANNE RD. WEST ENGLEWOOD. N. J.
TEaneck 7-7465 6 . // (^
A mepioan
Hardufare
STOiwaa / J
// /
4^*T
ALL CLAIMS AND RETURNEII GC^DS MUST BE ACCOMPANIED BY THIS BILL
Rec'd By.
R60709
AUTOMATIC BUSINESS PRODUCTS CO., HARTFORD. CONN.
Phone 837-4210 FRANCIS SCHWARZ & SON
SCHWARZ HARDWARE
GENERAL HARDWAm & PAINTS
1358 Teuncik RtL W, Englewoodj Nj J. 07666
Suld
D«le__
//-^/'-
ly
AdHrt
STATEMENT
*'The First Aid Store far the Home'' ^
319-321 Queen Anne Road - Teaneck, N.J. 07666
ELECTRICAL APPLIANCES TEancck 6-4991 GARDENING SUPPLIES
FACTORY SUPPLIES ^ HOUSEWARES
HARDWARE _ - /l PAINTS
SHADE8 ^\'0/t / / / ' /l // GLASS
DATE
'^m^Mu
V Kt ,C Jl£fj<./L k. A ^"
PLEASE DETACH AND RETURN WITH YOUR REMITTANCE
DESCRIPTION
CHARGES
CREDITS
BALANCE
AMOUNTS FORWARDED
LUDEWIGS HARDWARE
319-321 QUEEN ANNE ROAD - TEANECK, N.J. 07666
PLEASE PAY
LAST AMOUNT
IN THIS COlUMN
Phone 836-4991
M
LUDEWMC'S HJtRBWMRE
HARDWARE - HOUSE FURNISHINGS - PAINTS - GLASS
INDUSTRIAL AND JANITORIAL SUPPLIES
319-321 QUEEN ANNE ROAD TEANECK, N. J. 0?,666
nntA j ' --3 1
Customer's
Order No..
/r
Add
^\ V' V^-^ W-s V Vv_
ress.
v\
/ SOLD BY
1
CASH
C. O. D.
CHARGE
ON ACCT.
MDSE. RETD.
PAID OUT
QUAM.
DESCRIPTION
PRICE
AMOUNT
•"• -^/K^
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7
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All Claims and returned goods MUST be accompanied by this bill.
No. C 539 2 i^^'^'v^d by
Form AR 58
Acnie UatuKraphic ini-snics» s>sifm», Inc., Souili Hio-'ki-iikac'k, N. J.
Phone 836-4991
LUDEWMC'S HURDWURE
HARDWARE - HOUSE FURNISHINGS - PAINTS - GLASS
INDUSTRIAL AND JANITORIAL SUPPLIES
319-321 QUEEN ANNE ROAD TEANECK, N. J. 07666
Customer'$
Order No
M.
.Date,.
5
(1
Address.
SOLD BY
CASH
:. O. AkJ^lrtKRGE
ON ACCT.
MDSE. RETD.
QUAN.^
/
DESCRIPTION
\(ß^
^ryi'
PAID OUT
PRICE
AMOUNT
I
i
o-^
3^,*^
1
«w
YO
T
^
No.
1009
All Claims and returned goods MUST be accompanied by this bil
Received by
Form AR 58
Acma DataKraphic Buiinaia Syitams. Inro., South HaokanaacK, i». ■<.
Phone 836-4991
LUDEWiC'S HüRDWaRE
HARDWARE - HOUSE FURNISHINGS - PAINTS - 6LASS
INDUSTRIAL AND JANITORIAL SUPPLIES
319-321 QUEEN ANNE ROAD TEANECK, N. J. 07666
Customer's
Order No.
Date,.
6//
.19.
/^
Address.
No.
? ir'C ^ <i>'/^A..<.,././f
'^
4-
(.1
Ali ciaims and returned goods MUST be accompanied b/ this bil
Received by
1383
Form AR 58
Aetna Uatagraphic Buslnaii Syitcms, Iiro., Soulh HackanaacK, im. ■*,
STATEMENT
'*The First Aid Stare for the Home''
ELECTRICAL APPLIANCES
FACTORY SUPPLIES
HARDWARE
319-321 Queen Anne Road - Teaneck, N.J
TEancck 6-4991
07666
SHADES
"^<2y ^le^^^
GARDENING SUPPLIES
HOUSEWARES
PAINTS
GLASS
rr^ ^^A
-7<^e^
/i^.V
r — *y
J,
PLEASE DETACH AND RETURN WITH YOUR REMITTANCE / A
vk/// ,o/;-
DATE
DESCRIPTION
CHARGES
CREDITS
AMOUNTS FORWAROEO
LUDEWIGS HARDWARE
319-321 QUEEN ANNE ROAD - TEANECK, N.J. 07666
BALANCE
PLEASE PAY
LAST AMOUNT
IN THIS COLUMN
Phone 836-4991
LUDEWIC'S HßJRDWMRSS
HARDWARE - HOUSE FURNISHfNGS - PAINTS - GLASS
INDUSTRIAL AND JANITORIAL SUPPLIES
319-321 QUEEN ANNE ROAD TEANECK. N. J. 07666
Customer's
Order No..
l
M.
Ad.
~~W77W
.Date,.
vZ^
.19
Address.
^^6 ci.yji'H^ /J'^ ■
SOLD BY
QUAM.
I
l
Form AR 58
CASH
C. O. D.
r
ON ACCT.
MOSE. RETD.
desCription
7 — '/-;' /
I
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0: f^_
•«*«*Hi«**M|iMMM
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PAID OUT
PRICE
T
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cj
All Claims and returned goods MUST be accompanied by this bill.
No. ^ 4 Ü 1 Received by
\cmo Datai;rii^liic Buüinps» System», Inc., South HackensacK iX. J.
AMOUNT
/
7
7
7o
SV
7»-/^
/
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Phone 836-4991
LUDEWIC'S HRRDWJIEE
HARDWARE - HOUSE FURNISHINGS - PAINTS - 6LASS
INDUSTRIAL AND JANITORIAL SUPPLIES
319-321 QUEEN ANNE ROAD TEANECK. N. J. 07666
Customer's
Order No..
M.
AA
{ I
#
.Date,
.,£i
Address.
^/ < >
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No.
All Claims and returned goods MUST be accompanied by this bili.
Z'l
Received by.
Form AR 58
..■m,< r tl.ii; rjtiliic l-'i>p -N -«jsUnis. lue, S'-iitli II 'kruHiicl-., N. J.
487-2955
489-4241-2
2 15021
HARDWARE "TOOLS MNTS
FACTORY AND CCiiTRACTOiv SUPPLIES
248-252 RIVER STREET
MERCHANDISF. NOT RE t WITHuUr TH ; - ^iXi-'.
WE WILL CHEERFULLV ■■.. . Y O LJ R MOSIEY \lJRN :D IN 5 D
CLAIMS ON ERROR OR SHORTAGE. MUST ßE Rt ^^IMEOl
\
Phone CAnal 6-7452
AAODELING CLAYS
POTTERY CLAYS
SCULPTORS' SUPPLIES
CERAAAIC MATERIAL
KILNS AND TOOLS
SOLD TO
STEWART CLAY CD., Inc.
133 MuLBERRY Street New York, N.Y. 10013
DATE January 31, 19^9
SHIPPED TO FEB
Established 18 6 7
PLASTICUAA
PLASTALENA
MODEL-LIGHT
CLAY-CENE
C L A Y- P LA Y
11969
Erna Weill Art School
886 Alpine Drive
Teaneck, New Jersey O7666
Mr. Chiapelli
Piasterer
8th Floor
1+3 East 20th Street
Nev; York, New York
Cust. Order No.
Order No.
9632
Dept. No.
\
Only CAN No. 277 govt - bronze
metallic plating
P.P, & INS. WITH
SPECIAL HANDLINa INC
'n^{
^%M,
t{a i
Invoice No.
4TTT
00
50
^i
50
%M
£/'
STEV/ART
GAY CO., INC.
133 toULSEPvSi' Sr
NEW xh\{, N. Y. lb013
Rhone CAnal 6-7452
MODELING CLAYS
POTTERY CLAYS
SCULPTORS'SUPPLIES
CERAAAIC MATERIAL
KILNS AND TOOLS
STEWART CLÄY CD., Inc.
133 MuLBERRY Street New York, N.Y. 10013
SOLD TO
E^na Weel
886 Alpine Dr
Teaneck, N.J. 07666
DATE Nov 18 I969
SHIPPED TO
Established 18 6 7
PLASTICUM
PLAST ALENA
MODEL-LIGHT
CLAY-CENE
CLAY-PLAY
Cust. Order No.
Order No. 15467
Dept. No.
Invoice No. ß 3 8 3
100
100
1
1
I
Jordan w/Grog Clay
Red Clay w/Grog Clay
10 gram Liquid Gold ^
5 grain " Platinum ^
Less 10^
P.P. Ins.
1U
1U
h
-3
35
^0
$0
00
7F
86
3^
7U
PRINICD BY THE STANDARD NEGtSlER COMPANf U.^.A. -ZIFäEfQS^
V-rf
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//*;'■ -.(w- <;^v^ -- -^^-
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H .^
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Custom Built
FURNITURE
for Home or Office
KITCHEN CABINETS
Television, Bars and Bookcases •
CHURCH FURNITURE
Pews, Altars, etc.
^v
iHaöter Craft Cabinet^Ijop i^
Tel. 792-1179
Res. 865-4145
%k} l^"
1103 GRAND STREET^,
Hoboken, N. J. 07030
oraw®öe
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SHIP VIA
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CODE 516. WELLS 5 8780
CABLE: AVSHAW
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THE AVNET INC COMPLEX
I V.
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COMMERCIAL STREET • ENGINEERS HILL • PLAINVIEW, LI., N.Y.
m^MA
RECEIVEOFROM ; OATE..
^AujJ..:^.M
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Nw
DEPOSIT: BILLING #,
WT.=,
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MODEL J^h*:^Qc^ -rrrrr.^^^J /(J^'hr^
ESTIMATE y^:^<r:,,,^r^iy.. ./.....^jSr...r:...i.
MOLD ^^Ji^'ät-^i^^
CASTING .-^.Q^J^^L-^^ .(O _/^^
WAX , , NO. OFWAXES
DELIVERYDATE 7r....C^....4Ch>rr:^..,^..-. ^..^.Ä.dC.....^..
: /ez) , ~
SHIP VIA
o
CHASE ^^?}:^::rzt:^^ /trA/-.. 2rr.:
PATINA.
MOUNT.
Clients' modeis, designs, waydirect modeis, and othe
propcrty left at or sent to th<rAvnet-Shaw premises are
accepted entirely at the clients' risk. Those desiring
protection are advised to ar ränge insurance at their own
expense.
• '
• , ■
TEANECK
HOPPER
402 CEDAR LANE
TEANECK, N.J. 07666
836-5871
OCTl 1968
B86 Alpine Dr
07666
Sept* [|.
11
Chi
18
18
^2. 10
P.IO
2.10
2.10
2.10
"110.50
ALL BILLS PAYABLE UPON PRESENTATION
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7
PETER SAMMARTINO
PRESIDENT OF THE UNIVERSITY
RAYMOND C. LEWIN. ED. D.
DEAN
AFFILIATED WITH FAIRLElGH DICKINSON UNIVERSITY
ISO KOTTE PLACE. UNIVERSITY PARK
HACKENSACK. NEW JERSEY
836-6300 - EXT 333-4
You Are Cordially Invited To Attend
The Reception For The
MODERN ARTISTS GUILD
on
Sunday, May 5
from
2:00 until 5:00 p.m.
at
Edward Williains College
150 Kotte Place
Hackensack, New Jersey
The twenty-six artists taking part in this exhibit will have
their works displayed at the College from May 5 through June 7.
GRamercy 5-1021
adolph studly, ine.
Photographers
407 Park Avenue South
New York, N. Y. 10016
Date.
•>/lA
1.
'}lu^ iX-y^^ ''u^j'^^-
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STATEMENT
^
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73
Addressing
Prospect Lists
MiMEOGRAPHING
Bergen County Letter Shop
DiRECT Mail Advertising
ESTABLISHED 1921
396 Cedar Lane Teaneck, N. J. 07666
TEaneck 6-6995
/^V6f
V7u '9J z£ /^d^^'^-'^
J
Printing
Engraving
Addressograph Plates
Your Order No.
Our Order No.
Terms: Net 10 Davs
cO.<^^
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0/^^ /yO<r-r^ C
J>/k ö^ My'fCC / Sho/^^<:'
'f>'~<^^ /^/ 5"
3 cD^<
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ORIGINAL INVOICE
No.
'i ^ :r Ji 'i ' f
JACK D. WOLFE COMPANY, INC
MFRS. CERAMtC MATERIALS S EQUIPMENT
724-734 MEEKER AVE. • BROOKLYN, N. Y. 11222
EVergreen 7-3604-5
l^aSÄK ERNA VffilLL
886 Alpine Drive
SOLD TO Teaneck, NeiJ Jersey
L
■ ' S I ■ Same '
H
I
P
T
' II SAME AS SOLD TO UNLESS OTHERWISE INDICATED |
INVOICE DATE
june 11, 1968
DATE SHIPPED
OUR ORDER NO.
3707
YOUR ORDER NO.
phone
VIA
Bilkays Wo. 2-1^26
TERMS
net
SALESMAN
F.O.B.
f actory
Ppd. or Col
QUANTITY
100 "^
100
^ '-nli'y
f i
DESCRIPT ION
COordan Clay, po'wdei''
Medium Grog
Barnard Clay '^
Brown Grog Clay racist
Buff " ^' »»
Grams Liquid Pri^^ht Gold
Home.. Phone 201- 837-1627
To äend lotter menttoning rucker, aä
Mrs Weill can call them and arran^^e for
time of doli e^ry. • . .
Have Trucker mako dellvery on Monday, June 17
to make sure thatsomeone is home..... ^
PRICE
.2^
.25
13.00
13.00
?.5o
Le,3 3 10/
-^
Total. ..
bh and cal'.
'V
T
Your Order vr s picke^l up Friday juno 1)4. 1968
V/e"wröte fdr the t rucker to r^-et in toiv-h Ihh Jrou a na the
deliver> ^p Monday.... If any nuostiors:
VoTircan call the N.Y. office Bilkays - Woj^-l?OC
Hewp-^' " - <5 6?:rT?2^
/
^A/
"^ller rcpfesents that with respect to Ihe production ol the articl« and/of the scnrices lovcred by this invoice, it has fully complicd with the V«»'»'on$ of Ihe Fair Labor Standards Act ol 1938, at amcndcd. "
n
^
4^3/z
]1l^'
AMOUNT
1.25
1.25
1.25
13.00
13.00
2.50
T2T25"
3.22
(4'
."•29.03
e.
y niay
^1
k-^H^f-^^^4^
ti'
BILKÄYS EXPRESS CO.
AFFILIATED WITH JERSEY COAST FREIGHT
DATE FROM
6 ik 6^
303 SOUTH ST., NEWARK, N. J. 07114
(201) 643-1200 (212) 732-4922
SERVICE THAT IS SUPERIOR
No. E581551
JACK 0 WXrt CO INC 72^ 73*4 MltKt« AVtBKtrN
TO
NO. PCS.
IBHk WtiLt 886 AM»iNt Ogi¥t fl^MUCK
k
I
50 LB CüNS CCAV
CTü cur
SOi 837 i^T
DUIVtRY MQflDAY OML TO HAKe SUffC
WEICHT
200
tÖ
RATE
C.O.D. $
t 1 1;:?
v...^.M ALLOWEH hnlESS WE ARE NOTJFIED OF DAMAGE WITHIN 48 HOURS.
SPECIFY ^^ßdkcMl • ÜeMeu CooAt^' on every order
f y 9 CONSIGNEIS MEi
MEMO
*7kaKk you
®
PACKING SLIP No.
JACK D. WOLFE COMPANY, INC.
MFRS. CERAMIC MATERIALS & EQUIPMENT
724-734 MEEKER AVE. • BROOKLYN, N. Y. 11222
EVergreen 7-3604-5
3707
r;
i%; I
SOLD TO
ERNA WEIIX
886 Alpine Drlv#
Teaneck^ New Jersey
Same
~i
L
f SAME AS SOLD TO UNLESS OTHERWISE INDICATED |
INVOICE DATE
DATE SHIPPED
Jime 11^ 1968
QUANT ITY
$ Ib«
100 •
100 "
5 n^y
OUR ORDER NO.
3707
YOUR ORDER NO.
phone
VIA
Bllkays Wo.2-1226
SALESMAN
F.O.B.
faotory
Ppd. or Coli.
DESCRI PTION
^rden Clay, powder
HedlUM Grog
Barnard Clay "
Brown Orog Cley meist
Buff • ^ •
OraiBS Liquid Brlß:ht Oold
:::::::::::
::::h:::::
Horae^.pfone ?01- 837^16?7
To Äend letter mentlonlng rucker^ se
Mrs w#lll oan cell them and arrancje for
tlme cf dell^ery..«»
H«ve Trucker »ako dellvery on Monday^ June 17
to make aure thatarmeone la home«««*«
«... J
t:Bm»nn
.waeae<
!Seeaeafteesiäf(
^ieefeaaaeefaaaffi
Seeiiaaf f eefaafiet
••eaaa^aeefaaaiat
lieft
ie<
:::::::::::::::::$:::n
RETURNS: POSmVELY NO GOODS
□ ORDER COMPLCTE □ BAUNCE TO FOLLOW
PACKED BY
E ACCEPTED FOR CREDIT UNLESS OUR PERMISSION TO RE
NOTIFY US IMMEDIATELY IF ERROR IS FOUND IN SHIPME
UCH GOODS IS FIRST SECURED IN WRITING.
DATE
Phone CAnal 6-7452
MODELING CLAYS
POTTER Y CLAYS
SCULPTORS' SUPPLIES
CERAMIC AAATERIAL
KILNS AND TOOLS
STEWART CLAY CO., kc.
133 MuLBERRY Street New York, N.Y. 10013
DATE Dec. 6, 1968
Established 18 6 7
P L A S T I C U M
PLASTALE NA
MODEL-LIGHT
C L A Y - C E N E
CLAY-PLAY
SOLD TO
Mrs, Erma Weil
886 Alpine Dr
TeanecTC/ N.J.
SHIPPED TO
Miss Susan Weil
7774 Litchfield Dr
Mentor, Ohio 44060
Cust. Order No.
Order No.
8355
Dept. No.
1
1
1
1
1
Set ES - 1
Dozen 9D Copper Shape
Dozen 1 *•
Dozen 22 ••
Dozen 25 ••
II
II
II
p.p. INS
Invoice No.
8
1
00
40
40
75
80
35
35
3 5 27-
70
I 1
Phone CAnal 6-7452
MODELING C L A Y S
POTTER Y CLAYS
SCULPTORS'SUPPLIES
CERAMIC AAATERIAL
KILNS AND TOOLS
STEWART CLAV CD., jnc.
133 MuLBERRY Street New York, N.Y. 10013
SOLD TO
Erna Weill Art School
886 Alpine Drive
Teaneck» New Jersey
DATE Oct. 7, 1968
SHIPPED TO
Established 18 6 7
P L A ST I CU M
PLASTALENA
MODEL-LIGHT
C L A Y . C E N E
C L A Y-P LA Y
Cust. Order No.
Order No.
6753
Dept. No.
only
5-GRAM
Bright Gold
Invoice No.
1918
75
»6
a^
75
/o
DOLACK AND DOLACK, ENGRAVERS
185 Main Street
Hackensack , New Jersey - 07601
(20,1) 487-5780
Vi4-
Name
(/)A^^9<^ i-<^ JU^J^
y
Addres a / ^-^^x^^rU-
VI-*
^c V
Artlcle
Purchased At
Phone
r,./- /69'j
ENGRAVING INSTRUCTIONS,
ö
Date Recelved
Est.Cost
<^-^'
Y ^^
Deposit
Promlsed F
Balance
.^
^
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/ 1^7^/^
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^
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24-
il
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PHOTCGRAPHER
140, 7tb AVE., N. Y; 10011
WA 4-0394
Sold
To_
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OUR NUMBER
Ji"! .P(^ 2
DATE
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CUSTOMER'S ORDER
SALESMAN
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Address
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GRamercy 5-1021
adolph studly, ine.
Photographers
407 Park Avenue South
New York, N. Y. 10016
Date-
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adolph studly, ine.
Photographers
407 Park Avenue South,
NEW YORK 1 6, N. Y.
SOLD TO
ADDRESS
CITY & STATE
gX^^<>t^t> .
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INVOICENO.
Telephone GR 5-1021
advertising
architecture
ort & sculpture
color
THIS IS YOUR INVOICE
PLEASE RETAIN. IT WILL
NOT BE REITEMIZED.
6331
DATE OF ORDER
QUANTITY
//
SIZE
^k(^
CUSTOMER NO.
ORIGINAL
GLOSSY
MATTES
ENLARGEMENTS
MOUNTING
COLOR TRANSPARENCY
COLOR ORIG. PRINT
COLOR DUPL. PRINT
COLOR SLIDES
OROERED BY
DESCRIPTION
'>^W^^/o
GLOSSY
MÄHE
/W^-^.
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SALES TAX
POSTAGE
PRICE
/
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AMOUNT
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140/ ^iii Avo, N. Y. loon
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Address
Via^
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DATE
CUSTOMfeR'S ORDER
SALESMAN
TERMS
F.O.B.
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AD 7e
Addressing
Prospect Lists
MiMEOGRAPHING
Beugkn County Letter Shop
DiRECT Mail Advertising
established 1921
396 Cedar Lane Teaneck, N. J.
TEaneck 6-6993
:^:]Bli:.iAI•:y 17, 1967
Printing
Engraving
Addressograph Plates
Your Order No.
]-l3s liJrna Vi o 111
Alpi^^^^ Terr.
Our Order No.
Terms: Net 10 Days
mim 0!-:B-ptiev-. luriii;^
n. j
2.50
.00
j;; 2.Ö8
SOLD TO _Z^
ADDRESS _
CITY & STATE -
adolph studly, ine.
Photographers 407 Park Avenue South,
NEW YORK 1 6, N. Y.
6583
DATE OF ORDER
QUANTITY
:i
SIZE
INVOICE NO.
Telephone GR 5-1021
advertising
architecture /
ort & sculpture />- ^.
color /^ ^ ^
7-<ia<i>*^L^l^ f //
THIS IS YOUR INVOICE
PLEASE RETAIN. IT WIU
NOT BE REITEMIZED.
ORIGINAL
iü
GLOSSY
DESCRIPTION
PRICE
AMOUNT
rt efavis • 280 c/mton place • hackensQck • new Jersey • hubbarc/ 7-35/6
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OFFICE COPY
RHONE
GLenview 6-4500
j. j. CRESS CO. OF N. j.
Manufocturers of Precision Sheet Metal Parts and Metal Fabrications - Electric Kilns
Office ancJ Plant: Rt. 130 & Lincoln Ave. - W. Collingswood Hgts., N. J.
Mailing Address: Box 67, Collingswood, N. J.
INVOICE NO.
8087
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V-„.^ ii
'«» ^- *'
1
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Sold To
Erna ^j^eill
aculptur« Studio
8ö6 Alpine Drive
Teaneck
DATE
QUANTITY
P.O. NUMBER
12/27/66
DRAWING NUMBER
Complete lld
3-15
JHT.
»• "-ifc % ■ *■ ^.
^4
Shipped To
1/27 • 67
we are shipping in approx 2 wks
We would apprec your check by tiien.
Um ütevenbon
SHIP VIA
TERMS
NET 30 DAYS
ESCRIPTION
Packing
UNIT PRICE
K.J. iiilBB Tax
AMOUNT
33.58
1.00
34.58
1.04
O O
35.62
The Seiler represenis i. has fully complled with the provisions of th. Fair Labor Standards Act o. 1938, os omended, in the manufocture of good> Cover«) by thi, invoice.
n.J.
417 CEDAR LANE
ESTABLISHED 1937
P. O. BOX 7
SOLD AND/OR SHIPPED TO
r
Xvz. Vv'ejll
886 Alpine Drive
TeanecK, New Jersey
TEANECK, N. J.
n
SHIP TO
r
TELEPHONE
(201) 836-3450
DATE
. 5/6/67
n
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SHIP VIA •
CUST. ORDER NO.
QUAN.
ORDERED
2Ü0
DATE OF ORDER
?-6-67
SALESMAN
TERMS
NET 30 DAYS
F.O.B. SHIPPING POINT
CATALOG NO.
Lb.
DESCRIPTION
Jordon Buff with Cray
CARTONS
QUAN.
SHIPPED
Sales Tax
200
UNIT PRICE
INVOICE NO.
37397
EXTENSION
10.00
per 50 I-'^
)4.0.00
7Y7V^
i'^O:
X lil
1.20
TOTAL
.20
r")
^
r
ORIGINJ^L iNVOlCE-PLEASE RETURN PUPLiqTE ^pPY WI^H PAYM^hi
ITEMS
ORDERED^
BUT NOT
SHIPPED
HAVE BEEN
lACK ORDERED
NO CREDIT WILL BE ALLOWED FOR GOODS RETURNED WITHOUT OUR PERMISSION^
A?L PR?CES SUBJECT TO CHANGE WITHOUT NOTICE. NOT RESPONSIBLE FOR
GOODS DAMAGED IN TRANSIT.
ALL CLAIMS MUST BE MADE WITHlN FIVE DAYS AFTER RECEIPT OF GOODS.
PLEASE RAY THIS INVOICE
NO STATEMENTS MAILED
ü.
TELEPHONE
(201) 836-3450
ESTABLISHED 1937
417 CEDAR LANE P. O. BOX 7
TEANECK. N. J.
SOLD AND/OR SHIPPED TO
"1
SHIP TO
r
886 Alpine Drive
Teaneck, New Jersey
DATE
■ 3A/67
1
l_
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SHIP VIA •
CUST. ORDER NO.
QUAN.
ORDERED
DATE OF ORDER
^£^
CATALOG NO.
SALESMAN
TERMS
NET 30 DAYS
F. OB. SHIPPING POINT
DESCRIPTION
CARTONS
QUAN.
SHIPPED
UNIT PRICE
INVOICE NO.
37397
EXTENSION
TOTAL
200
Lb.
Jordon ßuff with Gray
200
10.00
per 50 I'b»
PLEASE
Sales Tax
RETURN THIS COPY WITH P^YA^ENT. TfHANK
14.0.00
1.20
1+1.20
YOU
ITEMS
ORDERED^
BUT NOT
SHIPPED
HAVE BEEN
'BACK ORDERED
NO CREDIT WILL BE ALLOWED FOR GOODS RETURNED WITHOUT OUR PERMISSION.
ALL PRICES SUBJECT TO CHANGE WITHOUT NOTICE. NOT RESPONSIBLE FOR
GOODS DAMAGED IN TRANSIT.
ALL CLAIMS MUST BE MADE WITHIN FIVE DAYS AFTER RECEIPT OF GOODS.
DUPLICATE
INVOICE
— _ ESTABLISHED 1837
-
417 CEDAR LANE P. O. BOX 7
TEANECK, N. J.
SOLD AND/OR SHIPPED TO
SHIP TO
r
n
-— —
Mrs. 'vVelll
886 AlT)ine Drive
Teaneck, New Jersej
DATE
TELEPHONE
(201 ) 836-3450
/.- r
5/20/67
n
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SHIP VIA •
CUST. ORDER NO.
QUAN.
ORDERED
200
DATE OF ORDER
r;""Q-67
CATALOG NO.
Lb.
SALESMAN
TERMS
NET 30 DAYS
F. OB. SHIPPING POINT
DESCRIPTION
Jordon Cuff wlth ?xi^^
CARTONS
QUAN.
SHIPPED
lOOlb
f^<A'^
Sales Tax
UNIT PRICE
12.9
per G
5
INVOICE NO.
37605
/^
EXTENSION
TOTAL
13.34
ORIGINAL INVOICE --PLEASE RETURN DUPLIC/fTE ^pPY WIlfH PAYM^NT
ITEMS
ORDERED""
BUT NOT
SHIPPED
HAVE SEEN
BACK ORDERED
NO CREDIT WILL BE ALLOWED FOR GOODS RETURNED WITHOUT OUR PERMISSION.
ALL PRICES SUBJECT TO CHANCE WITHOUT NOTICE. NOT RESPONSIBLE FOR
GOODS DAMAGED IN TRANSIT.
ALL CLAIMS MUST BE MADE WITHIN FIVE DAYS AFTER RECEIPT OF GOODS.
PLEASE PAY THIS INVOICE
NO STATEMENTS MAILED
TELEPHONE
(201) 836-3450
417 CEDAR LANE
ESTABLISHCD 1937
P. O. BOX 7
DATE
TEANECK, N. J.
3/23/67
SOLD AND/OR SHIPPED TO
r
8ci6 Al--^'i)3e '')id .-e
n
SHIP TO
r
Ship Prlday
9Am to 2o^ clock
1
^■^•••^ .:
L_
1 :a.neoK
New Jerse^/
U7666
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SHIP VIA •
CUST. ORDER NO.
QUAM.
ORDERED
DATE OF ORDER
/2
0/5?
CATALOG NO.
SALESMAN
TERMS
NET 30 DAYS
F. OB. SHIPPING POINT
DESCRIPTION
CARTONS
QUAN.
SHIPPED
UNIT PRICE
INVOICE NO.
37621
EXTENSION
TOTAL
lOU
-uü.
Jo V \o n
Fack Cr der
•Suff with Gr':^y
R-23
R
asps
Sales Tax
100
12.95
per C
2.95
each
h%h4A^
ORIGINf^L INVOICE -PLEASE RETURN DUPLiqTE "pPY WI1[h PAYM^NT
12.95
19.^2
ITEMS
ORDERED^
BUT NOT
SHIPPED
HAVE BEEN
ACK ORDERED
NO CREDIT WILL BE ALLOWED FOR GOODS RETURNED WITHOUT OUR PERMISSION.
ALL PRICES SUBJECT TO CHANCE WITHOUT NOTICE. NOT RESPONSIBLE FOR
GOÖDS DAMAGED IN TRANSIT.
LCLAIMS MUST BE MADE WITHIN FIVE DAYS AFTER RECEIPT OF GOODS.
PLEASE RAY THIS INVOICE
UO STATEMENTS MAILED
. ü
417 CEDAR LANE
ESTABLISHED 1937
P. O. BOX 7
SOLD AND/OR SHIPPED TO
r
Krs. Weill
8öD Alpine Drive
Teaneck, New Jersey
TEANECK, N. J.
1
TELEPHONE
(201) 836-3450
DATE .
5 -icfc^
SHIP TO
r
n
L_
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L
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SHIP VIA •
CUST. ORDER NO.
QUAN.
ORDERED
200
DATE OF ORDER
^-20-67
CATALOG NO.
Ib.
SALESMAN
TERMS
NET 30 DAYS
F. OB. SHIPPING POINT
DESCRIPTION
GOVK-^CTSTJ INVOICS -f/yj^^l
Jordon :juff with Grog*
Sales Tax
CARTONS
QUAN.
SHIPPED
ORIGINJM INVOICE-PLEASE RETURN DUPLigTE "pPY WI^H PAYM^NT
UNIT PRICE
12.95
per C
INVOICE NO.
37609
EXTENSION
25.90
.81
TOTAL
26.71
ä5?
'ZPU^
ITEMS
ORDERED^
BUT NOT
SHIPPED
HAVE BEEN
'BACK ORDERED
NO CREDIT WILL BE ALLOWED FOR GOODS RETURNED WITHOUT OUR PERMISSION.
ALL PRICES SUBJECT TO CHANCE WITHOUT NOTICE. NOT RESPONSIBLE FOR
GOODS DAMAGED IN TRANSIT.
ALL CLAIMS MUST BE MADE WITHIN FIVE DAYS AFTER RECEIPT OF GOODS.
PLEASE PAY THIS INVOICE
NO STATEMENTS MAILED
^ .-t
PURNITURE
STATIONERY
ART SUPPLIES
PRINTING
//It^ fCA.^n^A:^
W. J. LINN - INC.
417 CEDAR LANE
TEANECK, N. J.
TEoneck 6-3450
DUPLICATING &
ADOING MACHINES
TYPEWRITERS
SALES & SERVICE
PLEASE PAY FROM THIS INVOICE. NO STATEMENTS RENDERED.
11078
ALL Claims and returned goods
MUST be accompanied by this bill.
Received by
W. ,1, LINN. INC.. TKAM ' K, N. J.
ESTADLISHFn 1937
417 CEDAR LANE
P O BOX 7
Ü.
TEANECK. N J. 07666
SOLD AND/OR SHIPPED TO
r
Mr. '^^rna ./eil].
886 Alpine Drive
Teaneck, New Jersey 07666
n
SHIP TO
r
TELEPHONE
(201) 836-3450
DATE
11-16-67
n
L_
J
L
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SHIP VIA •
SALESMAN
TERMS
NET 30 DAYS
F. OB. SHIPPING POINT
DESCRIPTION
ffiorclon Bui^f vvith Med» Grog
less lO'fo
ransportation
CARTONS
QUAN.
SHIPPED
200
INVOICE NO.
41724
UNIT PRICE
7-50
per 507r
Sales i'ax
^1 e^^
i\<^
--a;
//.6r'
EXTENSION
30.00
3.00
27 .00
4.00
.93
:^
'-.IC
mcc
NO CREDIT WILL BE AI LOWED FOR GOODS RETURNED WITHOUT OUR PERMISSION.
ALL PRICES SUBJFCT TO CHANGE WITHOUT NOTICE. NOT RESPONSIBLE FOR
GOODS DAMAGED IN TRANSIT.
ALL CLAIMS MUST BE MADE WITHIN FIVE DAYS AFTER RECEIPT OF GOODS
i ^■
I f» L -f
TOTAL
31.93
Shipper's No..
Agent's c
Carrier's
Agent's or )
" No. }
This Memorandum
is an acknowledoment that a Bill of Lading has been issued and Is not the Original
Bill of Lading. nor a copy or duplicate, covering the property nanied herein, and is
intended soley for filing or record.
.19-
PHONES:
PHILA.. PA. -WA 3-1210
LINDENWOLD. N.J. - ST 3-2013
CLENDINING EXPRESS
101 N. LINDEN AVENUE
UNDENWOLD. NEW JERSEY 08021
% LCC MC 636
RADIO DiSPATCHED UNITS
RECEIVED, subject to the classifications and tariffs in effect on the date of the receipt by the carrier of the property described In the Original Bill of Lading,
kh« proiortr deaerlbcd below, In «pparAnt (ood order, «xecot »• DOt«d (oont*ntt and oondltlon of eontant* of packacM onknown), marked, eonifcned, and daatinad aa Indicated balow. whloh Mid oompany (th* word aompAny being tmdaratood tfarouch*
out tl '( i'iHilmr't AB meaning any peraon or oorpor«tion in poiBesaicn of tha property under the oontraet) acreeo to earry to Ha uaiial place of doHvery at Miid deHtination, if on H« own road or its own watar lin«, otharwlao to dellver to another oarriw
OD the route to aaid dastination. It U mutually agraad. aa to aaob oarriar of all or any of aaid proparty ovar all or any portion of aaid route to destinatioo, and aa to aaob party at any tima intaraatad in all or any of aald property, tbat eyery aerriM
lo be p0rf.;rine<l baraundar ihAll ba lubjaot to all tb« oondjtlon« not probibitad by law. whathar printad or writtan, barain oontaiaed, Inoiudin« tba oonditiona on baek baraof. whiob ara baraby acraad to by tba thippar and aooaptad (or himaaU and bla aaaicaa.
FROM
TD
Routing
Delivering
Carrier
Vehicie No.
Car Initial & No.
CO.D. $
AND REMIT TO:
C. 0. D. CHaRüE
TO BE PAID BY
SHIPPER O
CONSIGNEE D
No.
Packages
DESCRIPTION OF ARTICLES, SPECIAL MARKS, AND EXCEPTIONS
cP^fC <:///W/ f//(/A/(r /-/D
t ^ C ,
y
7^
♦WEICHT
(Subject to correction)
J
Class
or Rate
Check
Column
If charges are to be prepald, write or stamp here»
"Tu be Prepaid."
CHARGES
ADVANCED: $.
Subject to Sectlon 7 of conditions, if this shipment li
to be delivered to the consignee without recourse on th«
consignor, the consignor shall sign the following State-
ment:
The carrier shall not make delivery of this shipment
without payment of freight and all other lawful charges.
(Signature of Consigpor.)
ReceiTcd $ - — ■ .
to apply in payment of the charges on the propertf
described hereon.
(Carrier)
*If the shipment moves between two ports by a carrier by water, the law requires that the bill of lading shall State whether it is "carrier's or
shipper's weight."
NOTE — Where the rate is dependent on valuc, shippers are required to State speciflcally in writing the agreed nr declared valuc otihe property.
The agreed or declared value of the property is hereby specifically stated by the shipper to be not exceeding , . _Pflr , ,jf
Shipper
Per
Per.
(Signature here acknowledges only amount prepaid.)
7^
Permanent address of shipper
FORM #380
RE-ORDER FROM MOTOR CARRIERS FORMS CO., 1028 ARCH ST., PHILA., PA. 19107 WALNUT 2-6634
INVOICE
PHONE
GLenview 6-4500
INVOICE NO.
8087
Manufacturers of Precision Sheet Metal Parts and Metal Fabricotions - Electric Kilns
Office and Plant: Rt. 130 & Lincoln Ave. - W. Collingswood Hgts., N.J.
Mailing Address: Box 67, Collingswood, N. J.
SNO INDUSTRIES
Sold To
. Erna, V/eil 1
6 0 ul pture otud i o
8üD Alpine Drive
Teuneck
N.J.
DATE,
P.O. NUMBER
^/S<^'i\ 12/27/66
QUANTITY
1
\
DRAWING NUMBER
Oümole"üe lid
5-15
Shipped To
1/27 • 67
V/e are shippin^, in aoorox 2 v/ks
V/e v/'ould apprec your check by -ulien.
H. Dteve""^-or]
SHIP VIA
DESCRIPTiON
'£aok±iiß
NET 30 DAYS
AMOUNT
33.58
1.00
34.58
1.04
35.62
The Seiler represents it has fully complied with the provisions of the Fair Labor Standards Act
of 1938, OS amended, in the manufacture of gooas covered by this invoice.
e^preas^PfiUe 'Pinea andTine y^ards^ood» a <^/^^^^
INOUSTRIAL LUMSCR
SPCCIAL WOOOWORKINa .
ORV KILNS
SASM-OOOM
STOCK MILkWOHK
BERCO. n
7724
•>.- •*
"^^^ ^
^5 FULTON STREET • PATERSON I. N.J.
SHCMWOOO t-830O
Name
t^ u^
Date
^^1^
Address
?gc gj^
J
Delivered
.^^
Customer
Order No..
Shop Order No.
CO N TRAGT
EXTRA
CLAIMS FOR
DEDUCTtON WILL NOT BE AlLOWED UNIESS REPORTED WITHIN 3 DAYS AFTER PEUVERY OF MATERIALS
/- },^x/o'"' >^ ^ /4^o>»»»/ ^vi
FEET
PRICE
AMOUNT
//
i Ö
Received by
CENTER LUMBER COMPANY
85 FultofTStreet Paterson 1, N. J.
SHerwood 2-8300
o
HL 3.RD 7-57Ba
TROPHIKft
M KüALiS
GAVELS
PLAQUES
* .
DOLACK 4c DOLACK
i
ENGRAVING AND Ef»JGRAVED PrDDUCTS
1B5 MAIU STREET I
HACKENSACK, NEV/ JERSEY 07601
/.
3 /<XX 2
/'^
r
SPECIAL AWAI^D^
AUTO EMBLEMJ-l / ^ ()
NAME-PLATES ^, ^
^_^^1_19^
'^ / ^, ^ /
y^^sia^.
Tf OQvis • 280 c/infon p/ace • hackensack • r)eu\/ Jersey • hubbard 7-35/6
"•t
>^,
Iv-
11
Mrs . rxna .-/ei 11
Teaneck, K. J.
Aoril 25. 1966
Originals <" S5.00 . . .' B20.C0
reo.rints fe 'S 1.00
11 . 00
1151.00
ff efsvis • 2dO o/infon p/ace • hockensack • ne\A/ Jersey • hubbarc/ 7-35/6
Krs. Erna '.eill
F e b r II ary 22, i S 6 6
Gl
i
reprints & ^l.Z"^ %l1.cl^
14Q 7lh AV N, Y. 10011
WA 4-C.'^^^
Sold
/' / /f 9- ^ /t A//1 //t'^/ ^
//l-T/C C
Srfpped lo
Address
<^?L /4^/^//u^
3
CÜSTOME.TS ORDER
SALESMAN
Via
TERMS
F. O. B.
tmmm^m »wi— »
:^\rX^^-mr
y'lr'^L^'^.'^L.L
/ ,0 0
^£i^-J-
'y'h'
o
;;^o
AO 70
047633
Customer'a
Order No._
C- . ,
/4d u^ ^ F' r? >Ö2^' ^ ^^ ■
DATE.
.19.
C^
SOLD TO.
^Tn-i^i. ^. cUj^^^
ADDRESa
/-f^ ^
lox^e^
2y2 . / ..e^-rv
SALESMAN.
.TERMS.
CASH
CHARGE
C O. D.
PAID OUT
RETD. A/IDSE.
RECD. ON ACCT.
OUA,N.
AMOUNT
^QyüXL \
T d^.^yru?.rvf /(^^^J^^^
t52^'c<.
''^L( cO
tz
t
w
17) TA^
ALL Claims and Retumed Goods MUST Be Accomponied By This Bill
SIGNATURE.
PiXrSBUKGH SALESBOOX JC.Q.« PJJJSBURjfiiM A. fA«
adolph studly, ine.
Photographers 407 Park Avenue South,
NEW YORK 1 6, N. Y.
SOLD TO llAyl^ (.^»^t^t^-^ /f -.-^^ ^^i^
ADDRESS J a^ '^T/T^^ ^/5-ti^V-^
CITY & STATE
INVOICE NO.
Telephone GR 5-1021
advertising
architecture
art & sculpture
color
THIS IS YOUR INVOICE
PLEASE RETAIN. IT WILL
NOT BE REITEMIZED.
5740
adolph studly, ine.
Photographers 407 Park Avenue South,
INVOICE NO.
5598
NEW YORK 1 6, N. Y.
SOLD TO
ADDRESS
CITY & STATE
T:jtA^^.jt^, CX^ y '
Telephone
advertising
architecture
art & sculpture
color
THIS IS YOUR INVOICE
PLEASE RETAIN. IT WILL
NOT BE REITEMIZED.
GR 5-1021
rt cfaViS • 280 d/nton p/ace • hackensack^ne\A/ Jersey • hubbard 7-36/6
Mrs. Erna v/eill
äc6 aipine 3rive
Teaneck , N. J .
iVjarctL 25, IS.bo
15
re-orints ^ ifl.i^
If^ÖTT^ /fT^
•A/ OQViS • 280 c/i'nfon place • hackensock • ne\A/' Jersey • hubbarc/ 7-35/6
Erna .eil
May 23, 1966
Originals (&. %'y.OO *10.00
repriüts 4^ $1.00 9-0Ö
$19.00
passport-size photos 1.00
$20.00
// \\:X/ 1
rf €/avis • 280 cUnton place • hacken sack • ne\A/ Jersey • hubbard 7-35/6
Miss Erna .;eil
July 9, 1966
reprints © "$1.00
previous balance
.$6.00
11.00
51; 17 . 00
jOp
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MFRS. CERAMIC MATERIALS & EQUIPMENT
724-734 MEEKER AVE., BROOKLYN 22, N. Y.
EVergreen 7-3604-5
SOLD TO
SHIPPED TO
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Tcancok, -:e\7 Jei
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OUR ORDER NO. ,^j^j - j
^* /- -
DATE
SHIPPiNG DATE
VIA
YOUR ORDER NO.
DATE 3-^^- JO
F.O.B.
QUANTITY
DESCRIPTION
TERMS
...e'C
TOTAL AMOUNT
1 00-", "
1-"/^,
1
1
•s
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Joj.^dan \'it;i -ro.
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INVOICE
EST
^IBI^
1872
THE LUTZ COMPANY
MANUFACTllRERS - DLSTRIBUTORS
ENGINEERING & MEASURING EQUIPMENT
GUTTENBERG, N.J. 07093 Phone 201-868-4000
INVOICE DATE •
T?
eb, 1, 1966.
r
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Mrs. Erna Weill
886 Alnine Drive ,
Toaneck, N.T.
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ORDER NO
YOUR ORDER NO.
*hone
DATE REC D
OUR ORDER NO
71Ü0
(JÜANIITV
ORÜtHU)
Stewarfi
200
100
1
1
1
QUANIITY
SHIPPtÜ
200
100
1
1
1
UNIT
Ibs.
ti
it
doz.
Atttliur Brovrn
2
2^#
2
CATALOG
NUMBER
Co.Inc.
SALESMAN
SHIPPED VIA
OESCRIPTION
tt
h Bro
f?ordon clay vjith grog
Hed.Mexiclay vxith ßrog
Pasco Glaze dry #PA-3703'
Bisque tiles 6x6
UNIT
PRICE
DISCOUNT
tt
13.00 -^^v G.
lp.33
l.It-0
3*30
2.20
it
Ib.
dz.
ob 3 •
Ib s .
(21b
corit .
llalf liEe bust head 12»'
) Roma Ho. 3 Oray Grn Glay
lesJi lOy;
2.25
.90
It
/
oa.nt .
n
OVER
90 YEARS
OF SERVICE
NO OF
PKGES.
TERMS
2 % - 1 O DAYS
30 DAYS NET
F 0 B GUTTENBLRG. N J
AMOÜNT
26.00
15.33
1J|0
3.30
2 «20
1IB72T
TOTAL
[i.3. la
lt.. 5^0
22.50
n
oTTT
206^
•'S
the app
NO GOODS CAN BE RETURNED FOR CREDIT WITHOUT OUR PERMISSIION
ALL CLaVmS^MUST BE MADE WITHIN 5 DAYS AFTER RECEIPT OF GOODS.
Her represents that ihe eoods or srnices c-oxered by ihis invoice haxe been produced or rendered in ar.ord_anre vMth
appKTe prmb^^^^ ofthe Fair Labor Standards Art ot 1938 as amended, mclud.ns Serl.ons 12 (a) and 15 thereol. tTI f .
INVOICE NO
FURNITURE
STATIONERY
ART SUPPLIES
PRINTING
M.
Otu^ IVmui.
W. J. LINN - INC.
Eaalhms,nt & ^a^/z/tei ^o% Sakool d^al Office,
417 CEDAR LANE
TEANECK, N. J.
TEoneck 6-3450
Date-
Address.
Del. to-
^r^ a
^S0r-L^
SOLD BY
Quantit/
CASH
C O. D. CHARGE ^
ON ACCOUNT
Description
"W^
DUPLICATING ft
ADDING MACHINES
TYPEWRITERS
SALES & SERVICE
////:^
.19
LL
.Cust. Order No.
-Via.
MDSE. RETD.
PAID OUT
Price
V^?^
PLEASE PAY FROM THIS INVOICE. NO STATEMENTS RENDERED.
Amount
/
2:Z
1
0579
ALL Claims and returned goods
MUST be accompanied by this bil
Received by
W. J. LINN. INC., TEANElIv, N. J.
W. J. LINN - INC,
FURNITURE
STATIONERy
ART SUPPLIES
PRINTING
AA
417 CEDAR LANE
TEANECK, N. J.
TEaneck 6-3450
DUPLICATING &
ADDING MACHINES
TYPEWRITERS
SALES & SERVICE
-Dafe-
Address.
Del. \o-
ii-/r
Cust. Order No..
Via-
10575
ALL Claims and returned goods
MUST be accompanied by this bill.
Received by
\v . .1. I :n\. !m-.. ti-:am'K. \. j.
/
rf efavis • 2dO cZ/nfon place • hacken sack • neu\/ Jersey • hubbard 7-35/6
Mrs. Erna v7eil
Alpine Drive
Teaneck , N.d .
December 10, 1965
5
6
original photographs ^^ "I^.OO "i>15.00
reprints &$1.00 6.00
/
S21.00
^.U S^. ^ci;iff
tu •. '
107 WEST 86th STREET • NEW YORK 24, N. Y. • TELEPHONE: ENDICOTT 2-0485
TG
88(j ..Jpine Trive
Toaneck ::T.J. 07666
prints 8 x 10
DATE
Juno 0 1985
OUR ORDER NO
SHIPPED VIA
loostct^e &. hiv.dli::.J
(j
\
z
75
t
FOR REPRINTS KINDIY REFER TO THE FIIE NUMBER ON BACK OFTHE PRINTS
3
1
4
adolph studly, ine.
Photographers 407 Park Avenue Soüth,
NEW YORK 16, N. Y.
SOLD TO
ADDRESS
CITY & STATE
QUANTITY
/
SIZE
ni
o
ORIGINAL
GLOSSY
MATTES
ENLARGEMENTS
MOUNTING
COLOR TRANSPARENCY
COLOR ORIG. PRINT
COLOR DUPL. PRINT
COLOR SLIDES
//
/
INVOICE NO.
Telephone GR 5-1021
advertising
architecture
art & sculpture ^
color
THIS IS YOUR INVOICE
PLEASE RETAIN. IT WIU
NOT BE REITEMIZED.
4951
\
DESCRIPTION
ORDERED BY
JL-^tÄiciÄjL Jiü'^'C^ /U^i'.iyl^^^ .
PRICE
GLOSSY
MÄHE
\.6r ^ y^"'^ c^Ä
t^^^df
AMOUNT
P. fg /jt^ " ?^a<yc^^/ " ^^
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SALES TAX
O-ii
»Vk-^-tS
POSTAGE
u
adolph studly, ine.
Photographers 407 Park Avenue South,
INVOiCE NO.
5343
NEW YORK 1 6, N. Y.
SOLD TO
ADDRESS
CITY & STATE
Telephone GR 5-1021
advertising
architecture
ort & sculpture %^ ,,
THIS IS YOUR INVOiCE
PLEASE RETAIN. IT WILL
NOT BE REITEMIZED.
adolph studly, ine.
Photographers 407 Park Avenue South,
INVOICE NO.
4791
NEW YORK 1 6, N. Y.
^
SOLD TO X:-y^^U.^L.
ADDRESS Q^^
CITY & STATE
^J^.^i'L.L.^U^cJ?^ ^ Ot
DATE OF ORDER
QUANTITY
t
SIZE
g^t€>
CUSTOMER NO.
Telephone
advertising
architecture
ort & sculpture
color
THIS IS YOUR INVOICE
PLEASE RETAIN. IT WIU
NOT BE REITEMIZED.
GR 5-1021
ORDERED BY
ORIGINAL
GLOSSY
MATTES
ENLARGEMENTS
MOUNTING
COLOR TRANSPARENCY
COLOR ORIG. PRINT
COLOR DUPL. PRINT
COLOR SLIDES
DESCRIPTION
/s^.f»o/ ^A-
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SALES TAX
POSTAGE
PRICE
i
V^'
AMOUNT
- ou.
rf efavis • 280 c/infon p/ace • hackensack •ne\A/ Jersey • hubbard 7-36/6
10
Erna Weill
March 1, 1965
original photographs
reprints - 1 reprint each on 2
2^ 4 reprints each on 2
$20.00
/ö*C<i
• • • •
^ '^.aö
^n
adolph studly, ine.
Photographers 407 Park Avenue South,
INVOICE NO.
3793
NEW YORK 16, N. Y.
SOLD TO
ADDRESS
CITY & STATE
DATE OF ORDER
QUANTITY
Z
SIZE
/^
/
l(v(f
fj^.^iJd^<^ . ' A <
CUSTOMER NO
Telephone
advertising
architecture
ort & sculpture
color
THIS IS YOUR INVOICE
PLEASE RETAIN. IT WILL
NOT BE REITEMIZED.
GR 5-1021
ORIGINAL
GLOSSY
MATTES
ENLARGEMENTS
Y \^ il^ i3^ f\Pi&i^ l-c^t-^u^^!
m
GLOSSY
ri^^
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COLOR TRANSPARENCY
COLOR ORIG. PRINT
COLOR DUPL. PRINT
i^
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— \^ *
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Phone CAnal 6-7452
MODELING CLAYS
POTTERY CLAYS
SCULPTORS'SUPPLIES
CERAMIC MATERIAL
KILNS AND TOOLS
SOLD TO
STEWART CLÄY CO., Inc.
133 MuLBERRY Street
New York 13, N. Y.
DATE Nov. 4, 1964
SHIPPED TO
Estabi ished 18 6 7
PLASTICUM
PLASTALE IM A
MODEL-LIGHT
CLAY-CENE
C L A Y-P L A Y
Mrs. Erna Weill Art School
886 Alpine Drive
Teaneck, N.J.
Cust. Order No.
2U0
10
1
\
Order N9 26634
los* Gorden Ciay w/grog
Underglaze Pencils BLi\Cü
ibs. Medium Grog
Catalogue
Dept. No.
.1333
• 30
2/
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Invoice No.
2b
28
6b
80
46
85
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25
61
TEaneck 6-3321
INVOICE
M.
ARGONAUT
STUDIOS
488 CEDAR LANE
TEANECK, N. J.
298^
GOLDSMITH BROS.. Stationers. 77 Nassau St., New York. N. Y. 10008. CO 7-7900- P. D. 148950 3
WERNER BRAUN. PRESS PHOTO
CRAPHER. 1 RAPHAELI STREET, JERUSALEM. ISRAEL, TEL. 27010
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WALTER J. RUSSELL
Photographer
HOTEL CHELSEA
222 W. 23rd ST. N. Y. I
CHelsea 3-3700
ioAj- no. y^o^' ^
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FAIRMOUNT
LUMBER CO., Inc.
IN FROM JOHNSON AVE. & LAWTON ST.
HACKENSACK PHONE 487 ■ 3227
NAME liJil(iJf^
STREET f^<^-9j2
WE HAVE A COMPLETE LINE OF BUILDING MATERIALS
PLEASE ACCEPT OUR TH
X 3197
IR THIS PURCHASE. IT IS GREATLY APPRECIATED.
MILLER REGISTER COMPANY. MONTVALE. N. J. 391-8710
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tUdIV ine.
407 PARK AVENUE SO.
NEW YORK 16, N. Y.
Tel. GRamercy 5- 1021
72-0-60
Mrs. JjiTOa ^»»elll
886 Alolne Drive
Teaneck:, N. J.
ß
hoTOörQpher
adverlisino
archilecfurc
ort Ö sculolure
Au'^ust IS
7
, i960
1-8 X 10 original ohoto(?raoh of Sculptare
"Father & Gh1 Id"
I4. - 8 X 10 /ilossy duollcate nrints
35 rrui slldes
3 - 3 X 10 glp.3sy duolicHte prlnts - Dialo.<',ue
0] t <^( ^Ar€^
51) 4MlL(i
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'Vti
^R.on
5.00
7.00
3 »75
•^23.75
BEACON ARTISANS INC.
ESTABLISHED 1932
. . ctaftst
'tat , . .
smon in mei
301 WALTON AVENUE • NEW YORK 51, N. Y.
CYPRESS 2-1 1 18
JE N9 5130
^'^s ^/^/v^ Coe'i l'i'
JOB ESTIMATE
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DATE.
y^ '^^'-'^/
AHENTION MR..
Dear Sin
Cur estimate, to manufacture the item, or items you requested, is a$ follows:
DRAWING
NO.
QUANTITY
J2.
DESCHIPTION
y.
^rj/'^ r^^^fTp
Au-^^'
■T
UNIT
COST
/7^>
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jL
r^ yy ^^J -^ ^y^/^O^ /^-o/ S//
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TOTAL
COST
/^
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PCJ
:^/^.
-or-.
/Pc.
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The above job, will take about ^ ^^ ^ weeks to be completed, all items are F.O.B. our factory. The above
Job does not include installation costs, unless otherwise noted.
A deposit of one third down is required on all Jobs.
Trusting we moy be of service to you,
Very truly yours.
BEACON ARTISANS INCORPORATED
WALTER J. RUSSELL
Photographer
HOTEL CHELSEA
222 W. 23rd ST. N. Y. 1
CHelsea 3-3700
80929
Customer's
Order No
SOLO TO
ADDRESS
r^::^.
DATE_
/^/3
'M'^<M
.19
MX
SALESMAN- TERMS.
RECD. ON ACCT.
ALL Claims and Refrurned Goods MüST Be Accompanied By This Bill
SIGNATURE.
UNION 9-0005
TEXACOUSTICA DESIGNERS
MARIO CATANI
MARIO CATANI CO.
ORNAMENTAL PLASTERERS
ARCHITECTURAL SCULPTORS
8609 NEWKIRK AVENUE
NORTH BERGEN. N. J
TEL. UNion 7-5U25
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SCAGLIOLA MANUFACTURING CO, Inc.
Artificial Marble and Stone
137 TWENTIETH STREET
UNION CITY, N. J.,_...._S§_p_t.eral)er 2-otli.
.19-57-
_Mrs«_.JL,.jyeill
M6„ jLl^ln& .I)r i5e_^_ T eaJiexjJL-JIew^^
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Por making mould and 3 casts of your
figure as agreed on
Z^
Telephone FOundation 8-3539
JOHN B- DALEO
^rcUdurJ Wodeiö - Ornan^entJ Piaäennf
C^omposUlon L^adtin^A
77 OLD BROADWAY
New York 27
TO
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Ordered For Job
.^,
Your Order No..
Delivered Date.
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THORN'S TRANSFER, Inc.
Bronxville, New York
May 28, 1957
Mrs. Erna Weill
886 Alpine Drive
Teaneck, Nev/ Jersey
May 53/57 - #B0 5010
6 Pieces sculpture &
18 cartonsfrom Schoneman Galleries
K.Y.C. , to Teaneck
Federal transportation tax
145.00
1.35
Kay 23/57 - #B0 5011
Extra delivery to 885
Madi son Avenue , N . Y . C .
■3^ federan transportation tax
5.00
.15
151.50
SOICHI SUNAMl
27 WFST lST!i STRFFT • NFV/ yu\<K II. N Y,
Mrs. Erne Weill
886 Alpine Drive
Teaneck, N, J.
October, 1966:
CHiL'.ra 2 S'-AO
November 8, 1956
4 negatives maklng with 2 printa at $5.00
each %^y, • . .
$20,00
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THE FUND FOR THE REPU
BLIC, INC., SANTA BARBARA, CALIFORNIA^
DETACH BEFDRE DEPDSITING
I N V D I C E
DATE
NUMBER
ESCRIPTION
First payment
Sculpture-Scott Buchanan
AMDUNT
I S T R I BU T I D N
AMDUNT
500.00
CODE
7005
N9 41781
"SÜPERIOR PRESS, INC., LOS ANGELES
Phone CAnal 6-7452
AAODELING CLAYS
POTTERY CLAYS
SCULPTORS' SUPPLIES
CERAMIC AAATERIAL
KILNS AND TOOLS
SOLD TO
LUTZ
64
CO
70th
GUTTEK BUllG ,
STEWART ßLAY
133 MULBERRY Street
NEW York 13. N. Y.
STRLiiT
NEV; JERSEY
DATE
SHIPPED TO
Established 18 6 7
PL AST ICUM
PLASTALENA
MODEL-LIGHT
C L A Y- C E N E
C L A Y • P L A Y
Hrs. Eill
8?- 6 Alpine Drive
Tcencck, New Jersey
Cust. Order No.
200
100
Order
Lbs. Gordon with G F 0 G
Lbs. Red Me>:iclay with GROG
Lb. Pasco Glaze dry # rA-3705
Bozen Bisquc tlles 6x6,
Dozen Bisque tilcs m4 x ^\
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Dept. n£)
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trati
Phone CAnal 6-7452
AAODELING C L A Y S
POTTER Y CI.AYS
SCULPTORS' SUPPLIES
CERAMIC AAATERIAL
KILNS AND TOOLS
SOLD TO
iiiraa >veil
886 Al|)ine ür.
feaneck, N.J.
STEWART CLAY CO., Inc.
133 MuLBERRY Street
New York 13, N. Y.
DATE Warch 15, 1967
SHIPPED TO
Estabi ished 18 6 7
P L A S T I CU M
PLASTALEN A
MODEL-LIGHT
CLAY-CENE
C L A Y- P L A Y
Cust. Order No.
Order No. 15605
Dept. No.
1
10
5-gram Liquid lirite Gold
Gram Liquid iirite Gold
1-lb. pkg. Lou Fire Glaze (Jkefeld) 1*4
*1 ea : Ciear, .»liite, Med Green
Lb. J^olia^^e Green, fransp. Low A'ire 1.4
*iJkid.
Less 10%
U/P/S
Invoice No.
7644
50
50
02
fiom CAr^ &74S2
MOD?UH;i: CiAYS
i^oTrenY ciays
KtLMS AND KKH
STEWART
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133 A-UÄi^l^Y SiRÜT < NEW TC-i; N'. Y. toai3
INVOICE
NO.
fgMshed te<7
PIASTICÜ
MCOa-liGHT
CtAY-CEH£
CLAt-riAV
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SOLD
TO
Ertui Wetll Art School
886 Alpine Drive
Teaneck, New Jersey 07666
L
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INVOICE
DATE
SHIPPED
TO
qXjantity
YOUR ORDER NO. , J^
Mrs. E. Weltl
ALESMAN
dozen
dosen
Ib.
Ib.
only
TERMS
t DESCRIPTION
IIA fl
BRASS Findlngs "A
BRASS Findlngs
•if\ii
Engobe N-7 gray
Engobe N-20 brown
lO-gram Brite Gold
2=X3r: — STONE
i
SHIPPED VIA
ffTl
iPPD. OR COLL.
PRICE
AMOUNT
Phone CAnal 6-7452
f MODEUNG CLAYS
POTTERY CLAYS
SCULPTORS' SUPPLIES ^^^
CERAMIC AAATERIAL
KILNS AND TOOLS
SOLD TO
Erna Weill Art School
886 Alpine Drive
Teaneck, Nev Jersey 07666
STEWAR
.<M
cü
133 MuLBERRY Street
New York 13. N. Y.
DATE
Estabi ished 18 6 7
PLASTICUAA
PLASTALEN A
MODEL-LIGHT
C L A Y-C E N E
C L A Y - P L A Y
SHIPPED TO
TO PAY
WILL
CALL SAT
( ED WEISS & MORT BROWN TO PICKÜP )
Cust. Order No. e. WEILL
Order
Dept. No.
can
no. 277 X tnetallic play
10
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WOMEM'S IMTERMATIOMAL EXPOSITION
DIVISION OF
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^his is to C^rtify that
Al^....... ^TThr-^r^
is a member in good Standing and has agreed
to conform to the rules and regulaticns of
the Qrganization.
Expirc
Ckairman
Klndly sign on the llne msrked wlth X
attach e dollar and retum to the Woraen^s
National Institute, 480 Lexington Ave, MC
Thls payment does not constltute dues In
the Federetlon. It l3 requlred to malce
yovT contrcict bindlng and Is a necessary
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^ ^his is to C^rtify that
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is a member in good standing and has agreed
to conform to the rules and regulations of
the or^Laoization.
Expires
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Chairman
Mi
E. Weill
8;^6 Alpine Drive
Teaneck, KJ
To the NATIONAL SCULPTURE REVIE7;
250 Eact 51st Street
New York, N.Y. 10C22
Please renew my cubscription whi ch expired
FA! !
' "'••'' 1 sr.ue .
with the
Ida fCi
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1 am enclosi'hs :r.y check for ^_Ji_ payable
to the NATIONAL SCULPTURE SOCIETY.
1965 Membership Dues
$15.00
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209
_B ERGEN ÜOUNTY ARTI8T8 GUILD, inc.
Payable September Ist, 10
Annual Dues TiiROiTGii Ai;üust 31, 19 .19.53
PMASE MAKE CUEOKS ''AYAB^LEJO^T.IE GUILD M^i^^ ^re^wr
ARTIST-CRAFTSMEN OF NEW YORK
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8So Alpine Tr.
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KI33 I/Türil^L B/lRNrf^
33 GREENWICH AVE. APT. 'Z-L
NEW YORK N. Y, 10014
PAYMENT RECEIVED
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CHECK NO.
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DUES FOR MEMBERSHIP
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ENDING DECEMBER 31. 19«^- S
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tDOROTHY JERVIS
ai55 PARK AVENUE
NEW YORK 10028
PROFESSIONAL
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PnOFESSIONAL LJ
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DUES ARE CHAPGED UNLESS WRITTEN RESIGNATION IS RECEIVED BEFORE MARCH FIRST.
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MEMBERSHIP DUES / 9 Cp S
$15.00
Tlie Natioiuil Council
011 Art in Jewisli Life
u ■
V, ■
James N. Rosenberg, Honorary Chairman
■,'ssaf»>*>^^-?*"ä ■ :»■
15 East 84th Street
New York, N.Y. 10028
TRafalgar 9-4500
Rabbi Moshe Davidowitz, Chairman
Julius Schatz, Secretary
Martin Cohn, Treasurer
April 15, 1969
Received $10*00 from Erna Weill, 886 Alpine^ Teaneck, New Jersey,
in payment of her membership dues in the National Council on Art
in Jewish Life for 1969,
■v.^^
HATIOHAL COUNCIL »N ART iti JEWi3H Ü
15 East 84th Street
New York, N.Y. 1002S
TRafalgar 9-4500, Ext. 827828
ARTIST-CRAFTSMEN OF NEW YORK, INC
YEAR -NDING DECEMBER 31. 19 % ■
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Mi33 nrna V/eill
886 Alpine Dr.
Teaneck, N. J«
PLEASE REMIT TO
266 EAf-JT 7th ST-
NrW YORK. N- Y. 10009
PAYMENT RECEIVED
TREAS.
DATE
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ENCLOSE THIS
DUES ARE C
^ .^ Ar^r>RF«;S IS NOT CORRECT PLEASE CHANCE.
5 SLIP WITH YOUR ''^'^•^^'^'^"; J^^^^^^^Ir^cEIVED BEFORE MARCH FIRST
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f.:i33 'rna V/ailL
836 Alpina Dr.
Teancckf 11^ J«
PLEASE REMIT TO
MISS MUniEL BARNIMS
265 EAST 7th STREET
NEW YÖKK, N. Y. 10009
PAYMENT RECEIVED
TREAS.
07566
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DAT^
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ENCLOSE THIS SLIP WITH VOUR REMITTANCE. ,F ADDRESS ,S NOT COR«ECT PLEASE CHANCE.
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DATE
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DETACH AT PERFORATION BEFORE DEPOSITING CHECK.
HCR B-8523
Papfr Patented By NCR Co.
IEL-8074
DOLACK AND DOLACK , ENGRAVERS
185 Main Street
Hacken s ack , New Jersey - 07601
(201) 487-5780
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Name
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This Certifies That
Erna Weill
has been recommended by the Board of Gov-
ernors and the Committee on Associates to
membership in the International Platform
Association.
Committee on Associates
Ambassador Enrique Tejera
Hai Holbrook
John Henry Faulk
Drew Pearson
Senator Clarence Dill
Ben B. Franklin
John Morley
Ambassador Julio Sanjlnes-Goytia . o, •
Dlrector General and Board Chairnnan
Chairman
Board of Governors on Reverse Slde
BOARD OF GOVERNORS
of the
INTERNATIONAL PLATFORM ASSOCIATION
Lowell Thomas
Ambassador Enrique Tejera
Senator E. Gruening
Drew Pearson
Walter Lippman
Ben Franklin
Art Buchwald
Ambassador Julio Sanjines-Goytia
Anna Blair Miller
Eleanor Sikes Peters
Don
Marl
Wolfe
owe
oyt
J. Herman O'Keeffe
Emilie Jacobson
Anne Guthrie
Edward Wright
Edward Clarke
Halcyon Bryant
John Conrad
Cathy Allan
Louis Bohmrich
Nick O'Malley
Rick Trow
Mona Ling
Bob Bond
Neil Eskelin
O. G. Fitzgerald
Dan Tyler Moore*
*Board Chairman
The National Council
011 Art in Jewisli Life
15 East 84th Street
New York, N.Y. 10028
TRafalgar 9-4500
James N. Rosenberg, Honorary Chairman
f M
Rabbi Moshe Davidowitz, Chairman
Julius Schatz, Secretary
Martin Cohn, Treasurer
TO: Mrs. Erna V/eill
FROM: Julius Schatz
April 23, 1966
This is to acknowledge payraent of $10 membership dues for the year
196Ö.
i
J3/j
VILIA(iE
CENm
224 WaV^rly Place
Thank you for your contribution. Wa are glad to
enroll you as a member of the Vi Hage Art Center
and hope you will find the exhibitions we have
planned and the work we propose to do both con-
structive and interesting
_Jki
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President
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(;l^J^o A^CD LMCC'SP
il
D?%and l'rG.B.Zelnick 601 Mildred TM. Teanoclr,IT, J,
Prof.J.^aston Mahler ColuriT)ia UniversJty Broadway & ll6th St
Mrs. Helen Tamovor 440 Claren.or.t Ave, Teaneck II, J,
Mrs.Lina(s) Preßabur{^er 165 Edcraont PI. Teaneck N,J,
Mro,R,','ul!:an 615 ITorthumlDerland Rd, Teaneck,lT,J,
Mrs, Anno Apfelbaxm 37 A.udubon Rd. Tean.cok N.J.
I)r,& Mrs.Jos.Sheldon 682 Tilden Ave, Teaneck N.J.
Mrs. Ruth ITiliamo 501 Granville ve. V/.Enf*lev;ood W.J.
Mrs. David K.ITsuniann 303 Ogden Ave. Teaneck N.J.
Mrs. Hertha Prie^^man 605 Standish Rd, Teaneck N.J.
Mrs.Jcrone Gordon 251 Bana PI. Teaneck N.J.
Mr. Michael T.Pield 697 Grant Terr. Teaneck N.J.
Mro.J.B.;>ch\inian 1429 lludrjon Rd. Vv'.En levvood N.J.
MrG.I.GruTjer 913 Phelps Rd, Teaneck N.J.
Mrs. John A. Schauer 598 Ito.itland Ave. Teaneck N.J.
Mrs.W.Manfred 71 Ayers Ct. W,Engle\700d TT.J.
Mro.Peier sAi 097 Barbara -RtH^^t Te;meck N.J.
I)r.& Mrs.Harold A.Ehy 00 Howland Ave, V/.Engleuood K.J.
Mrs, Briggs» 1453 Hudson Rd. Teaneck N.J.
(0
F^.TaKdwarcl Hanley Badford Pennsylvania
"^-Änishe Sholom Jewioli Center ^SWr^Ernest Mohr 83--01 llGth St.
Kicbiiond Hlll,L*Jt ,IUY^
Jev:iüh Con-xinity Center •'^^''r.I'orrir. Tiktun 16-36 ;l#^'eöt 13th Ave*
Portland, 1^ Oregon
Rabbi Ulrich Steuer 246 Beiden PI« ITunGter, Indiana
Jerusalem University v'Prof •B^ITazar, President f Jerusalem, lorael
Rabbi StIJeuijan 280 Oak 3t«,Manche3ter NtH»
Congr gation Habonim ,'/'lJr.HußO Halm 20(3 Weot 72nd St. N.Y.e*
Rabbi Mordochi Bressler Temple Eiaan;-el East LleadowG lUY.
Rabbi Dov Revel »^Srashiva" 71-15 Auotin nt. Forest üills Ltl#
N.Y
Rabbi ?c MrQ#David Gninberg Westchester Reform Tom e 1 James St.
Hartsdale IT.Y.
Mian Evelyn Elloworth 2 Ridcewood Ave. Vlhltc PlainG,IT.Y.
Dr. Karl ochr/artz 251Dizencoff St. Telaviv lorael.
Brondelö University 7/altham Wass.
Rabbi Norman Gerstenfeld 2329 California St. Ti^^aGhinc^ton D.C.
Prof. Meyer füiaplro
Mr.& Mrs.Frits llathan 640 Ft. Washington Ave. (Office 200 C.P.3.)
Rid^^efiel Art Association Ridgefield II. J.
Hackensack Art Association
Mr.Abr-bam Chnnin 34 'est 65th ot« IT.Y.C.
IJr. Theodor Zert^Townshend, Vermont
lÄr.Itoccabi Greenfield 144 Pifth Ave, IT.Y.C.
Mro.Lll Siaith 15? Romaine Ave. Mayv/ood N.J.
MrcuCl-oriQi'e Ley 618 W.Englev/ood Ave. W.Enclowood II. J.
Mro.Ical)clle (H.P.) Marvls 1033 V/ilcon Ave. Tennwck N.J.
Mrs.Ruth (Miirrjr R. ) Plotnlck 1390 Somraerüct Gate West En^dewood ^i
llr.RRodde, Toraahouse, Teaneck Rd. Teaneck N.J.
llr.Leo Groodman 472 '.Inthrop Rd. Teaneck N.J.
Llrs.lla2el(:'elvln) Bellet 91 V.Biiren Ave. Teaneck N.J.
Prof. Morris Friedman 73 Bronxville Rd, Bronxvllle N.Y.
llro.B.Psaty 895 Park Ave. N.Y.C.
Mrc, Belle Krasney Tvibicoff 384 Parmingaale Rd. Iiai-tford Gönn.
Ilr.arLf Mrs, Nathan Eohn 82 E;^ont PI. Teaneck N.J.
Dr.-?: Lira. Samuel N.Porits 546 '.Vlllmerdinö; Ave. Teaneck N.J.
Dr.Ä rirG.SchvTiiamer 746 Carrol PI., Teaneck N.J.
N.J.
/
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Photo£2raph rs
ITr.Body Racoy 227 India nt. Brookl../n, N.Y.
f.!r. Gelten 227 Eact 57 th :>t. N.Y.cl
Mx.Soichi Sunami 27 iVeot 15th St. II.Y.C.
Mr.Jolm Schiff 107 v/est 06th n. N.Y.C,
r^r.Oppi Umtracht 604 Loßan St. Brooklyn. N.y.
r.Tr.Adolp}i3tudly 122 East 25th :n. N.Y.C.
llr.Prans Bamotaedter jSjewioh ITuseun 1109 Plfth
Ave,
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1
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B-^oojdyn T'fuiGetmi of Art Eaatem Parkway Brooklyn, TI.Y,
Brocia^m I'uceiun of Art Gchool Eaotem Parlavay, IT.':
ITowork r/Mseun ^Misa Coffee Newark 1,1T,J.
Mrn.T.Tarßaret Jardin 97 Procpect ':t.
FiTi^al-w-in Albert 23 Judge St .Brooklyn IT.Y,
Art New
o
T,Tar:a2lnes and Ilev/gpapera
32 Eaot 57th 3t. N.Y.C.
The Art Dißeot Inc., 116 Eaat 59tli Gt. N.Y.C.
Magazine of Arts 22 Eaot 60th lt. IT.Y.C.
Aufbau 2700 Broadv;ay ^SBr.T.Tanfred George
ßane ^^Rfr. Arthur Holde
Graft Horisons 601 Pifth Ave. IT. V.O.
The ITew York Times 220 Weat 43rd St. N.Y.C.
Section Book Review ^jIÜsg Grace Glueck )
230 v;est 41ot St. ^Sc.Burrows
;'Mis3 Enely Genauer
The New York Herald Tribüne
same
Three Lions Inc. ^^Mr.Lov/en 545 Fifth Ave. N.Y.C.
American Artist Magazine 24 V/est 40th t. N.Y.C.
Titie Magazine, AJ>t Dept. 9 Rockefeller Plaza N.'.C.
Sunday Sun io Mrs. Mildred Taylor 362 Cedar Lane Teancck N.J.
Bergen Evening Rocord i^ Lüc.Bemy Sklar 150 River St. Ilackenoack
N.J.
Plasterera
Alexander Sculpturc Center 209 Eact 39th St. N.Y.C. ^Ifr.A.Tatti
inrrVlneont flrucoo — - 4trri7fnrtr±'Hh'f^, N*Y-*C.._
Mr. Bill Bet-^ko 47-16 4Bth St. L.I.C., N.Y.
LTr.Renfe Lavagge 24-09 39th Ave. I.I.C, N.Y.
Mri'SBiiyx8HHay:cc225fxiiiäiHXıx>'Braakiyn>">'»xXx
Mr.Jolm Dalio 77 Old Broadway N.Y.C.
Caoaver I.'^arbel 'TTr.Casnavan rt.Vemon St. Ridgefiel Park N.J.
Schilp tu-r-e House fJlT.Ir.Ettl 304 v/.42nd St.N.^.C.
Zampolin Co, >'Mr.J.Carvino 185 6th St. Port Lee N.J.
Greenwich Houso Pottery :'I,1rs.IIertoock 16 JohnesSt, N.Y.C.
y
The Contcnporaries Gall-^ry f^Ms: Francio 902 ITadlson Ave,
\ Artist' ö Gallcry f'Mr.Vemon "'tlx 051 Le::inc;:on Ave, 11, Y,
^ Collector'o Callcry ^'Mr,D,Greer 4-9 W,53rd 3t, IT,Y,C,
Mro, Tanina Gezari 68 V.'cot 87th ;>t, N,Y,C,
Roko Gallcry '/j Mr.Proehlich 925 Wadiaon Avo,
lIrG,Schul25 Great Heck
Pietrantonio Gallery 26 Eant 04th it. N,Y,C,
ITr.Tirca Karlls 1 Bonl: St. n.Y,C,
Prenlcel & Co, 102 Maiden Lane N,^ .0.
IT.Yi
Union of American HelDrev/ Congroisationo 5th Ave, and 65th St,
^ Rabbi Eugene Lipman
w
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Rabbi Kaufraan
Miss Evans
Miss Roma
N
N
N
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Union Theological Seminary, yS Dr,Tilliß Broadway at 120th 3t,
Congrcsß forJewish Cxature <fo LIr,Lichtenatein 25 East 78th 3t.
American Priends of the Hebrew Univeroity ;'Mr,V/illiatn Cohen
9 East 89th St.
same <fo ])r,P,R.Lachman
The Hadassah Women'o Zioniot Org.of America, Ine, 65 East 52nd St.
i> Mrs,Kraraarsky iI,Y,C,
J/Ir,Paul Lobel 165 W, 4th St, M.Y.C.
Kr, Morris Levine 12 East 17 th St, N.Y.C,
lürs.Janet Lowenstein 365 Irving Ave, South Orange H.J,
Prof, Franz Lanzberger Hebrew Union College Clifton Ave
Cincinnati Ohio
Mr3,P.Laguardia 5020 Goo Iridge Ave, Riverdale,N,Y,
The Virginia I.!fus4um ^ Mr.Leslie Cheek S, Boulevard & Grove üt,
Richmond, Virginia
The Jev/ish Museum ?'Dr, Stephan Kaiser 1109 Pifth Ave,
Institute of Pine Arto ^5])r, Guido Schoenberger 17 East 80i;h :^.t,
N,Y.C,
Montclair Art ITuseim ^'^Ilis K, Gamble S, Mountain Ct, & Bloomfiold
Ave, Montclair 11. J.
Metropolitan LTuseum Of Art Pifth Ave, at 82nd St, 1J.Y,C,
V/hitney TTiiseun of American Art 22 West 54th St.
ITuseum Of Modem Art 11 \''est 53rd St. 1I.Y,C,
i
Mr.^lllicjn Zorach 276 Hick Street Brool:l;m, IT.Y.
risr; Rhyn C.Mpar;(/ 333 ^/cct 57th St. II.Y.C.
rr.Jo'ji Hovannes 110 " cct !54tii St» N,Y.C,
ITr.Ben 3hahn 73 ll.Cooperative RooüovoIö Il.J.
I.!rtul!ina V.'inkol 185-36 Galway ve, Hollio L.I.
lüao I'irifirri Somierburg 18-25 Pir: t ve, aijt,28 IT.Y.C,
Uro, Ruth Yates 27 H.Third Ave, üoimt Vemon N,Y,
llr/. >ara Shanes 64-59 82nd PI. Iliddle Villa^'o L.I.
I,'r, A. Archipenko 19 47 Broadway If.Y.C.
Mra.Grcte r>clnaier 116 Eaat 83ra 't. H.Y.C.
Mr. r/jECoabi Greenfield 144 Fi-xth Ave. II. ".C.
Mise Jotm Zinimet 106 ".Veot GQth St. IT.Y.C.
Misii I'Tora Hers 425 Ridge Rd. IUArlini<:;ton K.J.
llr.llathanjel Kaz 905 State 3t. Brooklyn, LI. Y.
Art Asoociation
Jev;lali Education Coramittee of IT.Y., Inc. 1776 Broadway IT.Y.C.
Tho IT. Y.Society of CraftBinen 887 Firut Ave, IT.Y.C.
llr. Albert Jacobson \7ilton Pottery, 11 ton Conn.
llr.Janeö Cumrine 27 Weot 15tli it. IT," ,G.
GoulpttLro Center 167 Eaat 69th r.t. IT.Y.C.
ArtiotG Enuity ^T^r.Rothchild 9 Eaot 45th 3t.
Mr.iiiraner Gruzen 80 Pifth Ave. N.Y.C.
Eagen & Dreyfus 5:5l/'Ir.Kacen 123 Eaüt 57th 6t,
llr.Max ..imon 18*.41 Broadv/ay M. i.C.
Kr.Percival Goodman 40 Ea:-:t 49th St. il.Y.C.
Mrs.Alicf Gundelfinger 444 Central Park V/tot
llr.a lilrr, Joseph Xonzal 161 'est 25rd 3t. K.Y.C.
Itrs.Gertrp.d Hartium 115 Eact 8Mth :>t. II.Y.O,
Mr. Jack D.'Volfe 62 Horatio St. H.Y.C.
Bergen Connty Artist Gtiild '/'Ilra.Gladii; GeiBhen 20 'Vlght PI.
a'enafly IT.J,
llr.IIahenia ?!ark 55 Sheridan Rd, LIt. Vemon TT.Y.
TTrs.Irna Rothötein 27 cat 15th t, IT.Y.C.
Colvinbia Artints ■:' I'rö.Ada Coopear* 113 'Veat 57th St.
tftr,-^ l?ro4-3)olt!ln — 57-4^- ö-5t?t -:t* — Jat4i«en Helf-hta L.Il
LIr.Ä :.!ro. Julius Carlcbach 937 Thircl \ve. H.T.c.
';7ellona Gallery 17 Ea:-t r>4th 't. r.Y.C, ^; H^ Hctc^ä*\
Villacs Arb Center ?5 /^U^ icsä\ 39 Grovo ".t. TT.Y.C.
3t. rniemie Gallery TfOtto Fallir 46 '..cot 57 th ^t. IT.Y.C.
IT.Y.C.
IT.Y.C.
N , Y .
l'ir.Carl •chulthelG 84-44 Bcverlcy Rd. Ken Cordens L.I.
r;r.& T.irs.Jolm '-;chv;arts 270 West End Ave, n.^%C.
rr.Hemarm E.Sinon 160 Broadway IT.Y.C,
llrc.J.lliapiro 632 Saf^amore Ave. Tcnnecl: !T.J,
Dc.narold Sinsor 7 Poplar r.t, Kloster IT.J.
nr.<^c Uro. Harr:/ Smitli 155 Ronaine 'vc. Haywood II. J.
ItTt-c T,Trs.Iludolpli Serkin 2004 Delancy ri. Philadelphia 3 l'e.nn
TJro.Clariaoe (Theo) Ley 610 '^eot i:n:;lev/ood Ave. Tef.mock N.J.
llr.S: Hrs.W.Thumaucr 628 ll.Poreat Vr, West Sn/;lev/ood Ii.J.
IJr.Ä Ilrs.I.Thumaiier 440 Clpromont Ave. Tccmook II. eT,
RaVoi ob L'ro. J.TrachtenlDcrs 801 Catalpa Ave. Teaneck N.J.
MlsB Agnes Horten, Teaneck Public Library Teaneck Rd., Teaneck N.J.
Mr.& Kro. Charles Turkenlcopf 117-01 Parle L ne S. Ke. Gardonu L.I.
l^.Geort^c Tremicr 200 Ayliff Ave. Wectfield II.J.
Rabbi Si I!rD.G.^:?aülicr 300 Vandorlinda 've. Teaneck II.J.
Mr.& llrs.opjn r;einick 238 Pairaont Ave. Haokenoack IT.J,
Mrs.ClarlGse .liite 12 Ehret Ave. Ilarrin-ton Park II.J.
Mr..?: Mrü. Arthur '-Vendt ll-GO W.Laurelton Parkv;ay V/eot Enslewoog^j^
Mr.Ä Mrs.E. v.'elcs 821 East Lavm Dr. Teimeok li.J.
Mr.A I,Ira.Ludv;is Weill 83-30 113 "t. Kev; Gardcns L.I.
Mr,& Mrc. \'ß.n '.Verthclner 108-50 Continental Ave. forest Hills L.I.
Mr.a uro. Karold Wolf 93 Gardner Ave. Ilickcville IJ.^'.
Krö. Alice Wolf 324 V/eGt 87th 't. K.Y.C.
I,Tr.& Uro. Peter V/cill 43 General Patton Dr. lTau£;atuck Conn.
Dr. Alfred Werner 230 Wcüt l?4th St. II. '^C.
Mr.^i I.1rs. Leo Weill Box 007 Wayneüville N.Carolina
Dr.Ru-th Weyl 27-30 Weot lt3th PI. Chicago 111.
rfir.Irvino V/achav/sky W.I'.II.A 211 EsGe:: St. Hackenoack II.J.
Urs. Rose 21:.)iaerEi- n 369 Cgdon ve. Tecineek N.J.
Rabbi & nrß. Erwin Ziianet 177 G.Cherry ;3t. PoiißhlceepoiG N.Y.
Mro.Boöe Hurit 193 Vrjiderlind Ave. Te;^.ccl: K.J.
Profesnional Telephone Book
Mr.IIerman Ilcilborn 256 Kaplan Ave. Hackensack TT.J,
Mrc.TTina Harkavy Hotel Aiisonia Broadway at 73rd St.
L1r.."c (."rrs.Jooe De Creeft 218 Green St. N.Y.C.
T.^ra.Lu Düble 27 Weot lOth 3t. IT.T.C.
Mrs. Elisabeth Model 340 v/est 72nd St. IT.Y.C.
11
O'^-L TT Y
' * 1
7
4
, Mro.Elsie IiOr{;^ilaa 65 Brov/otor Rd. Scarodale,lT,Y.
I.Tr.'c llrr.i.Eddy IIuoGbaiim 03 Villa^^e Rd, Roolyn lits, L.I.
r,1r,Ä nra.Frits llat^'^an 200 l.'eüt 59 th ot,
Mrs.Dorothy ^Tainan 1123 Cambridci;e Rd« Tc;meck,rT..T,
Fr«": T'frG.E.Otten 547 llortliuraborland Rd. Teanecl:,lI.J,
LTr,a I.TrG, Bernhard L.Ocer
Mr#& Lirs#Rugiero Orljüido
Dr«& Urs. Pai.il PrauDnitz
Dr.'^b I!r3,'5o.^/moiir Pro^jor
70-47 Ilarrov; St. Poroot Hills, L.I,, Tl. Y,
185 Sftlvaf^e ve. V/er.t Enclev/ood 'I.J.
77-'54 Auötin t.
Oll Tine Farm Middlo Valley II. J.
LTro.Paiila Prc,:;er 106-15 Queens Blvd. Poreot Hillo,L.I., ' .■'^'.
Prof. & I.!ro. Raph el Patai 197 iniritan Ave. Poreat Hills L.I.
D^.Ä I/lrs. Dpniel Penhara 100 Port WaGhin.;:ton Ave. ll.y.C.
Ulrs.rrloria Roth 1115 Briar Way Cliffoide II. J.
Mr.& IJrG. O.A. Robe Gon 554 S.Poroot Drive V/est Enclnvood IT.J.
Vt,& Mrs.E.RuIcin 503 Winbliroo Rd, Teaneck N.J.
Lira .Esther Rosen 243 Cherry Lane Teaneck II, J.
Mrs,Violet Roditi 30 East u7th 3t. N.Y.C.
Mr.Ä MrG,P, Rothbart 315 Shorman Ave. Teaneck, TT, J,
Vt,Cc IJr3,Enerich Ealcos 69-25 Pleet St. Poreat Hills L.I,
Llr.a i:rs,Robej-t J.Rubin 41 Lalce Rd. Rye IT.Y,
IkÜG; Clara Ichindlor 118-11 04 th Ave. Kev/ GardcnD,L.I.
r.Tro.H: len 3heldon 885 "Sheffield Rd Teaneck, !I.J.
L'rs. Helen (Jack IT. )3iegel 1320 Tr-fal^'^ar St. '^.'est En^'-lev/ood Ü.J.
I.-rs.Yvotte 3iraon(Hernan) 402 O^^dcn Ave. V/eat En^jlcwood T.J.
LTrs. Esther Selicman 621 iYest öth ;t. Plairiö-field II. J.
Krs. Hilde Stein 14-^'7 Esue:^: St. Teariock N.J.
Mrs.Ruth Schuh ^-3 Karens Lane, Em^'ilev/ood, 11, J.
rr.c^c rrs.ITerraan Sainer 263 Francis St. Teaneck H.J.
Mr.-^x: I'rs. Melvin J^inilow 8 Dadndarow Rd. V/hitc Plains IT,\r,
Mr:;,3,Bemy Sklar 999 Queen Anne Rd, Termcck 11, J,
Kr,& Mrs, R, P.Stahl 105-25 63rd Ave, Porest Hills L,I.
Mr3,B,Schats]-i 83-28 Abingdon Rd, Ke\7 Gardens L.I,
Mr,& Krs, V/nlter .ichatski 5^ B,3chat.-:ki 83-28 /ibin;-don Rd, P,II,
r.'r, ^: Mr3,'7altor St'ihl 117-01 Park Lone S. Egv/ Gardens L.I.
Br.üb Wrs. Guido Ichoenberger 115-25 84th Ave. Richmond Hill L.I.
L'r.v'i Wrs.Hu^h 3tcrn 255 Haven Ave, IT.Y.C,
Dr.& I.trs.A.^elignan 41 Forest Ave. silver Lalce Staten Isl;:nd II. Y.
T;''rs,..'.line Saarinen Blloorafiolu nill3,I'icli.ir^;in
I
I,;r4.;:i.V/.j;movei' 118!:^ Park Ave, N.y.o.
Llr.&ulrs. Robert •^■inover ^75 Park Ave. ij.y.C«
Mr.Ä Mro.II.t'' movcr 1135 Pari: Ave. N.Y.C
The Jewisli Theolocical Geininary of Anerica, Droadv/ay at 122nd 3t.
att.Dr.PinIcelstein
Hadaaoah national Of .?ice 65 East 52nd 3t. att.IIrD.Emninaky
llTü.Ada Ilolilreitor 101 Prospect :t. IlaclienGack, II.J.
IJr. Koval 68-43 li^leet St. Porc-Gt Hills L.T.,:''.^.
Kro. George Kaplan 603 Rutland Ave, Teaneok II.J.
ITro.narey Koll (I.E.) 102 Ilerrick Ave.
Mro. Helen IHLein 131 Bcmiett Rd. Teaneck ri.J.
Dr. 5: I.Irs.S.Kircliheincr 508 V/est 139th 3t. II.Y.C.
Mro. Carola Kern 34-58 74tli St. Jackaon Htc.I.I.,!!. .
Mr.Ä Mrs.Pred Kahn 61-36 82nd PI. Elrahurst L.I.
Dr. R. Kurzrock 1016 Pifth Ave. N.Y.C.
llrs. Herta Karger & l!fT,Sz ITra.Katz 251 Worthinßton Rd.Elnsford IT.Y,
Mrs.Clairc Kilhn fnTrs.Traugott 50 \^^ot 96th 3t. 11. -'.C.
llr.S: Mrs.Paul Lcvine 5 Overlook Terr. N.Y.C,
Lire, Jeanette loev/cnotein 365 Irvi.'ig Ave. ooiitli Orange n.J.
Mr.S: Mrs.i.^ax Lclimjm 242 3, ^,7, Parkside Dr. Portland Oregon
MrG.D.B.ITaser 1208 Eniorson Ave. Teaneck, II.J.
Mr.S: Mrs.M. Mantel 202 Ilerrick Ave. Teaneck II.J.
Mrs.G (M,A.) Mach 914 Phelpo Rd. Teaneck, II. J.
Mrc. George (Rose) Miller 39 C^pley Ave. Teaneck K.J.
LlTG. H.H. Mager 1013 Eastlawn Dr. Teaneck, N.J.
Mrs.Sr'dy Leight 46 Anderoon 3t. Hackenoack N.J.
Eür.Ä Mro.Lou linsey 630 V/indhan Rd. Teaneck, N.J.
r,!r.& Mro. '.7,L oev.-enstein 2 V/oodlEaid 11. Great Heck I.I.,iT.i.
LTr.(2: Iure.» ..all.
Mr.S: Mra.3idney L'Voor. 598 Standich Rd. Teaneck N.J.
l!\Tm& I'rü^IIax Locuenstein 04-09 126th St.llev; Grarden3,L#I# ,:!•¥•
Vt.C: Mrs.IIuso Leuchtnoii 58 27 Slst St. :inhiirrjt L.I.,If.Y.
Dr. 5: Ürö.IIeins Llppnann 597 ooiiclcrlrmd Rd. Teaneck, II.J.
L-r.& I,:r 3. Leonard ITarcua (l.?uriel) 555 '/intlirop Rd. V/cßt Englev/ood N.J.
Ur.Aiibrey L.T!osg 721 Carol PI. Teaneck r.J.
£Tr..:c LTrs. Eddy T.Tark 15 Eai.>t G3rd 3t. IT.Y.C.
LTr.fi: Urs. Harry T.Iookowitz 67 69 Groton 3t. Forest IIillStL.I.,IJ.Y.
e-
I
V
Mr.Claude Franl: Con{p:'eöcior.al Hotel 463 'Voct End Ave.IT^Y.C,
MrG.Liicie Peitlcr IK I'avcn Ave. IT. Y. 32, 17. Y.
Ut,& riTs.Rudy Herzog 332 V/eot Eni-lev/ood Ave.,;?oat i:nclev;ood II. J»
llro.r/Iaxine ( D.H.) Pischel 467 Palner \ve.,Teaneclc,i:.J.
Mro.Dorothy Piah 8 Huguenot Dr. Larclinont II. Y.
I.!rs.Lili!:in (Snul) Pine 1284 Payet 3t. Teaneck.li.J.
TIr.& Lira. Louis Piohl 616 R.S.W. Ardmore,Oklc'ilio a
Llr.^c Uro. Keneth PlacS 933 Circle Dr. Milwaulcee Wis.
Mr. John Plütere 1632 Yale Station New naven,Conn.
I,1rc5. Stella Gallant 081 Prince 3t.,Teanock,II.J.
Ilro. Jeanette Grunotein 483 ''.Inthrop Rd. »Tean^ ck,!I.J.
Mr.'x: Mrc.Irvins /V. Greenfield 732 Dov/nins 3t, Y/.Englewood N.J.
Mr.& Mro.G.Guthery 117-01 Park Lane 3., Kew Gardens L.I.,N.Y.
Urs. Tony Goldsnitii :. 119-14- Union Tiimplke, Kew GardenG,L.I.,II.'''
Mr. ^4 Kro.I.Ta:: Gutenstein 72-15 37th Ave. Jackson TIei,'.;hts L.I.,ü.Y
ITr.S: I/lrs. AI Garber 84-51 Bevorley Rd. Kev; Gardens, L.I., IT. Y.
Mrs.Eraray Goldjnan 1045 S.Osdon Dr. Los AngeleF. Calif.
Mr.Ä Mrs.Leo Grcenbc-'-g 83 Birohall Dr. Scarsdale II. Y.
Miss Susan Graven 19 Eatit 06th St, II.Y.G.
I.!r.5: LTrs. Irving Galpeor 135 Lakeview Ave. Hartsdale N.Y.
l'*.& I/iTS.S.Gruzen 44 Oalcland Rd., I,!aplev;ood II. J.
Mrs.Tamiria GeJ^ari 60 V/est G7th St., II.Y.C.
L1r.<^: I.Irs.IIei'man Gundersheiner 532 Laverock Rd., Glencide Penn
Mrs. Rose Helft 83-00 118th St. Kev; Gardens, L.I., IT. Y.
Ito,& Mrs.Curtis L. Hereid 515 llorth St.,Teaneck,Tr.J.
Mr. Alfred Hiller 155 Sealrock Dr. San Prancisco Calif.
Mr3.Ethel(l.Teyer) Plillel 970 Garrioon /Vve. Teaneck II. J.
tTrs.Rose üerssberg 27 Buckinghara Dr. Ramsey,I^J.
Dr.Ä uro. Clen. Weinstein G6-76 208th St. Queens Village L.I.,IT.Y
Kr.;"« l-rc. Peter Hohenstein 84-51 Bevorley Rd. Kew Gardens L.I.
Mro.A.IIalbort 262 West 107th St. II.Y.C.
Mr.Ä Itrs.Paul Ilalstead 28 Ocean Ave. Larchnont,n.Y.
Wr..*!: Mrs. Ernst Halstead 90 Randolph Rd. l^aton Park, '.vhit-e Plalns
II. Y.
Llrs.Aenne Herta Hotel Coranander 240 V/est 73rd St., II.Y.C,
LTr.ft Mrs. George Jaffin 22 Oal: L;^ne Scarsdale IT.Y.
I'rs.?ridel Halntead 1547 Pliuilcett .lt. Hollywood Florida
tt
\
\
Telephone - "book
\
AufT^au, f. ITr.Dolbin 2700 Broadway
Mro.Kate Romney (Bachert) 154 Eaot 78th St. IT.Y.C,
Bergsn^Bvoning Reoord 150 River St., Hacl:enaaclc,lT.J.
Mro.LiKKy Lakos (Benedict) 342 Eaot 22nd St., IT.Y.C.
Rlr.Wax Block 505 Pifth Av. N.Y.C.
Mrs.Sliü-beth Bamberser 4210 Groveland Ave. Baltinore 15, Ud.
Kis;3 Frieda Borchard 164 V,'eot 79th St. IJ.Y.C.
l!r.S.Bemy Sklar 999 Queen Anne Rd. Teaneck H.J.
ITr.^c MrD.Raymond H.Bohr 1260 Haßtines Ave. West Enclcv/ood IT.J.
Mrs.I'arian Cerf 1106 Broraberg Ave. Teaneck, M.J.
Arnold Conotatle ^^Fi^*^ ■ S^^- ti«^^ 355 Wain St..nacken3ack,lT,J.
Mra.Vivian Churg 711 Ogden ve., Teaneck, N.J.
LIr.A. Chanin 34 v;eßt 65th St., N.'.C.
Llr."c Mro.Leo Cahn 30 Salem \7ay Glenhead L.I.
IJIrs.S.Colenan 832 Grande Rd. Teaneck, N.J.
Mrs.Pia Galston 282 Bev/y PI. Teaneck, N.J.
Dr.Profl & Dr. Herta Pechner 863 Garrioon Ave. Teaneck, II. J.
Dr. I?red Rothenborg 359 Hudson Ave., Englcwood,N.J.
Dr. Ludwig Neusarten 936 Pifth Ave.,N.^.C.
Dr.V.'emer Gould 283 Summit Ave. Ilackensack.N.J.
Dr. Sarah Gerden 327 Cedar Lane Teaneck, IT.J.
Dr.B.B.Greenberg 1010 Pifth Ave. N.Y.C.
Dr.J.Ottenheiner & Dr.Iilly Ottenheiner 114 Bast 84th St. N.Y.C.
Dr.Charle K.Prieaborg 1125 Pifth Ave. N.",C.
LTr.Ä üro.Pred Daniel 125 Cedar Ive. Ilackensack, N.J.
Miss Greta Daniel 854 lOth Ave., N.Y.C.
Mro.Ruth (David) Eisen 1451 Jefferson Ed., Teaneck, N.J.
Mr.5: r^s.A.Adelnan 968 Phelps Rd., Teaneck, N.J.
Llr.fi: Iirs. Richard Einstein 6&54 Plect St.Porest Hills, L.I.,N.Y,
Mr.& lürs.E^ilberstein 68 54 Fleet St. Forest Hills, L.I.,N.Y.
l!r.& Mrs.Harold ICisönstein 135 Audley St. Kev; Gardens,L.I.,N.Y.
BtTG. Paula Eliasoph 148-25 89th Ave. Jjimaica,L.I.,n.Y.
I.!r.& Mrs. Matthew Feldman 138 Vandcrlinda Ave., Teaneck, 'I.J.
r.!r.& Urs. Paul Preigang 138-07 90th Ave. Jamaica,L.I.
Uro. Catherine Pistore 117-01 Park Lane S., Kew Garden8,L.I.,N.Y,
/
24th aimual WCMEN« S IlWERNATIOK^jiL EXPOSITION
CHAIRMEN OF THE VAI?IOUS DIVISIONS OF TUE IK'i'ERNATIONAL FEDERATION
OF HAI© AKTS 7
r
/
ATGHAMS
Mrs. M» Giere
20 Shore Park Road
Great Neck, L. !♦
Mrs, Melaide Bemer
79-3ä 77 Road
Glendale, L, I.
BASKET MAKING
Mrs. M. La France
Box 105
Hogansburg, K T.
"rs.
ORK, FIBRE. ETC>
■Irs. Eose Wright
i? Tane CoTirt
Brooklyn, N. Y,
CERAinCS, POTTEEY
m^^am¥im ■ p *i » J» ■!■■■■■
Mrs. F. Chellborg
201 Fi*aiiklin Ave.
Seacliff, L. I.
Glen Cove 2274
CROCHETING IN COTTOK
■.PüWi
Mrs. M. Berle
10 Locust Terrace
West Hempstead, L.I.
Mrs, Frieda Parker
Post Office Box 419
^opiaque, L.I.
Mrs. Lillian Schwärt z
879 East 27th Street
Brooklyn, N* Y*
Cl 8-1447
Mrs. C. M. Hess
571 So. Greene A.V¥.
Lindenhurst, L.I.
nSoLLS
Mrs. k. Mears
84-18 150 Street
Jamaica, L.I,
Re 9-1913
Mrs. Bert ha Eombostle
506 Beach 130 Street
Rockav/"ay, LI
Belle Earbor 5-0 768
MBROID]^RY>CRHVEL & GROSS STITCH
Mrs. Russell Atkinson
94-20 157th Street
Howard Bnach, LI
Vi. S-5983
FMCY SEhlNG
Miss Betty Corper
8810 Whitney Ave.
Elmhurst, L.I»
Ha. 9-9113
Mrs. Harri et Clements
40-46 Gase Street
Elmhijrst, L. I.
Ea. 4-9218
HiOVy^EK ARRA]^]GEg./tEKrrS,,
PRES^JD FLOl-vIi^S
Mrs. Vera Verity
15 Ralph Ave.
Oceanside, L, ,1.
Rockville Center 1418R
HDOKED RUGS
Mrs. Ethel Cooper
23-51 123 Street
College Point, L.I.
Flushing 9-3237
Mrs. Ellen Butler
55 Caml)ridge Ave.
Garden City, L^I»
Mrs. Gert rüde Matjen
53-15 198 Street
Flushing, L.I»
taTTING IK COTTON
I I ■ I I I I I m II I I
»s. Frances Henning
412 East 65th Street
New York . NY
M^.
Mrs. Ria Behrens
145-86 179th Street
Jamaica, L»I»
Mrs. Anne R. Pfister
219-29 Murdock Ave.
Queens Tillage, L.I.
LAGE
.■^■■■■i^Bal
Mrs. Margaret G. Brooks
W. Norwalk Road
Darien, Conn.
Norv/alk 6-9910
Mrs. H. Frost
249-24 Thebes Ave.
Little Neck, L.I»
Ba. 9-4177
LEATHER, FELT, ETC.
Miss Alice Conklin
15-82 Lurting Ave.
Bronx, N.Y.
We. 7-2975
METAL JE1(\1ELRY
Mrs. C. Chandler
6 7 Danfort h Ave.
Jersey City, N. .J.
•
Miss Effie Mohrikern
67 Danfort h Ave.
Jersey City, N. J*
Mrs. W, Gentes
28 Alezander Ave.
Lynbrook, L.I.
Lynbrook OSISÄ
MIl^ATURE DOLLS & FURMITURE
^EDLEPOINT.PEIIT POINT,
NEEDLE PAIInITING
Mrs. V. G. Schroeder
633 Scranton Ave.
Lynbrook, L.I.
Lynbrook 1122 J
Miss Georgia Hafner
90-21 215 Place
Queens Villa^e, LI
Eolliss 016 7V;
iiIL,V/ATER COLOR> ETCEING, PEN &
IMK, PASTELS, CBARCOAL
Mrs. May A. Hauser
76 Ebme Street
Fairfield, Conn.
Fairfield 9-0790
PAPER DIVISKDN
Mrs. C. E. Whitcomb
39-07 210 Street
Bayside, L.I»
Ba. 9-6516
Mrs. Kathrjm Codfrey
536 Ft. Washington Ave. •
New York 33, NY
Wa. , 8-9612
Mrs. Marcia Grane
267 West 89th Street
New York, N.Y. .
Sc. 4-0830
PEN PAIim[ll& & STENCILIi;iG
Mrs. Theresa Kenton
856 43rd Street
Brooklyn, N. Y»
PLASTICS
•
ttUILTS
Mrs. Harri et Smith
Vermont Koad RFD #1
North Babylon, L.I,
Mrs. Harry Buchanan
7901 Eidge Blvd
Brookljm, N.Y.
Store Read 5-7351
RÜGg, MISCELLAKEOIE
Mrs. Ann Varga
31-26 94th Street
Jackson Heights, L,I.
SEl'OiNG
tps. M. Thiensen
5 Ivy Street
^-est Eempstead, L.I*
SHELL WORK
r
i
Mpi
Mrs. D. Laphan
77 Cushing Ave.
Williston Park, L.I.
Mrs. Louis Bernstein
4 Oak Street
Woodmere, L.I.
SPIM^1N&
Mrs. E. Bielman
98 Pinebrook Ave.
Eempstead, L.I»
Rockville Center 6-1684
^prs. M. Ernst
Kewbridge Ave. RFD #1
Eempstead, L.I.
Wantagh 1860R
sTENCiLiiv'&,HAi;a) :^'Aiim:E fabrics,
BATIK, ETC.
Mrs. Alice Steffner
430 Brookside Place
Cranford, N. J.
Cranford 6- 2241 J
TATTIMU
Mrs. F. Arms
1824 Weeks Ave.
Broiix, N. T,
Tr. 8-3506
Mrs. Meta McDermott
531 Fast Lincoln Ave,
Mt. Ternon, N^ Y.
WEAVINS
Mrs. Ruby Eve
10 Harri so n Street
Hempstead, L.I.
Eempstead 1517
_' s
WOOD CARVING. SOAP SCULPTUEE
Miss Florence G. Mann
40 Monroe Street
New York, N. Y.
Ca. 5-1180
WQOL KUTTIl^G & CRQCHETI^jG-ADULT
Mrs. Rose Koenig
30-44 34th Street
Astoria, L.I.
Ra. 8-0400
Mrs. E.P.Eifert
19-43 77th Street
Jackson Heights, L.I.
As. 8-3995
WOOL KMTTII^ & CBOCHEllNG
IIIFAJNTS & CHILDREN
SIGNED
WOMEN»S mTIOrüU. INSTITUTE
480 Lexington Avenue, Room 805
New York 17, N. Y,
/
^~:ijhm
y ^
.u.. uAr^THTiq ^TVTSTONS OF THE INTOIIATIONAL FEDEIIATION
CHAira®^ OF THE VARIOUS DlVibiur.^i ur inr.
OF H.lND ARTS
n
<l
#
rT^nn^.TTNO IN COTTON
Wlrs. M. Berle
10 Locust Terrace
West Ilempstead, L.I.
Hempstead 7239
Mrs. Ria Bohrens
145-36 179th Street
Jamaica, L,I.
La 5-3332
Mrs, C. K. Hess
371 South Greene Ave.
Lindenhurst, L.I.
HAND PATNTED F.\I^RICS
llENCILINGJIAND..PA^
BATIK. ETC.
Mrs. Alice Stef frier
430 Brookside Place
Cranford, New Jersey
Cranford 6-2241J
EANCY^SSilNG
Miss Betty Corper
88-10 VJhitney Avenue
Elmhurst, L.I«
Illinois 8-4602
/-IT ■» •T'm (
rs^ M^ Thiensen
2$ Ivy Street
West Hempstead, L.I.
Hempstead 6248
TEATHER '-'ORK. GLO^/ES. BAGS
FELT> PL/iSTICS, ETC,
Miss Alice Conklln
15-82 Lurtin^ Ave.
Eronx, N.Y,
Fe 7-2975
Miss Sara Goldsmith
18-36 Ölst Street
Brooklyn, N. Y.
Ee 2-8215
NATURE MATERIAL. SHELLS ,
PRES3ED FL0'''T;RS, ETC.
Mrs, V. Verity
15 Ralph Avenue
Oceanside, L.I,
Rockville Center I4I8R
Mrs, D. Lapham
77 Cushing Avenue
Williston Park, L.I,
Garden City 2531W
Mrs, H. Bernstein
4 Oak Street
Woodmere, L.I,
Cedarhurst 2197
PEN PAINTING &^TEIICILIIiG
Mrs. Theresa Kenton
856 /^3rd Street
Brooklyn, N. Y.
MKTAL J]?.^-^IELRY
Miss C* Chandler
67 Danforth Ave.
Jersey City, N.J.
Dela\'7are 3-5888
WOOD C/iRVING^JigySEKOI^Miim^
Miss Florence G* Mann
40 Monroe Street
Nevj York, N» Y.
Ca 5-1180
Mrs. Marion Ann Mooney
839 Quinton & Trenton Avg
Tronton, Ne\v Jersey
Trenton 3-5637
BASI^TjyjaNG
Mrs. M. Lafrance
Eox 105,
Hogansburg, New York
^^ISCXLLAIWOUS,.,_BEADV:pRK,
lliMZBmi^TTiN^
ETC.
Mrs. Row^^e ^^^right
17 Famo Court,
Brooklyn, N. Y.
F.irs, Harri et Smith
Vermont Road
North Babylon, R,F.D.#1
Lon,^ Island
Babylon 397M
Mrs, Harry Buchanan
7901 Ridge Boulevard
Brooklyn, N. Y.
Shore Road 5-7361
HOOKED RÜG DIVISION
Mrs, Ethel Cooper
23-51 L?3 St.
College Point, L.I.
Flushing 9-3237
Mrs. C, Boldt
4141 221st Street
Bayside, L.I,
Bayside 3454
CERMICS, POTTERY
Mrs. F. Chellborg
201 Franklin Ave.
Seacliff, Long Island,
Glen Cove 2274
FEAVING
Mrs, M, Hamilton
32-60 Henry Hudson Pkway
Bronx, N, Y.
Kl 3-0576
Mrs. Ruty Eve
10 Harrison Street
Hempstead, L.I.
HeuiDstead 1517
TOTTTTMG IN COTTON
Mrs. Hannah Grie^singer
21 Sylvan Pl^ce
Valley Stream, L.I.
Valley Stream 5837J
Mrs. Annruthe Pf ister
219-29 Murdock Ave.
Queen *G Village, L.I.
...idkAtV^
Mrs, E. Bielman
98 Pinobrook Ave.
Hempstead, L.I,
Rockville Center 6-1684
Mrs. M. Ernst
Newbridge Ave. R.F.D.#1
HemT^stead, L.I.
Wantagh 1S60R
WOOL miTTING &
crogiieting ^-^ infants &
chiidren"^
Miss eJorma Glasr.er
633 Scranton Ave.
Lynbrook, L,l.
Lynbrook 112 2 J
WpOL KMITTIKG,&
CRÖCP^ETING ^~ ADULTSi
SV^.ATSRS'T GARI'iNTS, HATS
m^mm^wmmttmmmm^ mmmwm'^tuttmmti^^'^u- ammtm/m^-^-r^^mmmim^M' ^i**MflhK** »'.0^MiMirti^<4Bii»
AI-JP FAGS
Mrs, Kose Koenig
30-44 34th Street
Astorla, L,I.
Ra 8-0400
Mrs, E, P, Eifert
19-43 77th Street
Jackson Hei^-hts, L.I,
As 8-3995
"V
. -^
f
%
NEEDIETCRKj_EMBROIDE RY ,
CRETOL & CRC3S 3TITCH
Mrs, Russell Atkinson
9^-20 157th Street
Howard Beach, L.I.
Vi 3-5983
ARTISTS : J^ATKRCOLOR, ETCHING
!ErI±J^'-i P-*^T>^T^T CHARCOAL
Mrs. May A. Hauser
76 Home Street
Fairfield, Conn.
Fairfield 9-0790
Mrs, Marion Ann Mooney
839 Quinten & Trcnton Ave,
Trenton, N, J.
Trenton 3-5637
NEEDLEVJOm<, PETIT POINT.
nVF.niE PAINTIMG
Mrs. V. G. Schroeder
633 Scranton Ave,
Lynbrook, L.I.
Lynbrook 1122J
TV^^JL" MfTM^; , TATTTNG. B0B3IN
l:..ce. etc.
Mrs, F, Arms
l82/!^ "'eeks Avenue
Bronx, N.Y.
Tr 8-3506
8^^-18 150th Street
Jamal ca, L,I,
Re 9-1913
Mrs. Bertha Hornbostle
506 Beach 130th St,
RockaT7ay Beach, L.I,
Belle ilarbor 5-0768
AFGHANS .
Mrs. M. Giere
20 Shore Park Road
Great Neck, L.I.
Mrs. Adelaide Berner
79-39 77th Road
Glendale, L.I.
He 3-9087
miniatuije^li^Jl2LI5NII^
Mrs. W. Curran
U06 Ogden Ave.
Bronx, N. Y.
Jerome 7-2856
Mrs. G. Cole
588 Test Englewood Ave.
VJest Englewood, New Jersey
Teaneck 6-10296
MISCmLA^10pSJ^^
Mrs. Ann Varga
31-26 9Ath Street
Jackson Keights, L.I.
•
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NEEDLE]TORK,_EMEROIDE RY ,
CREl^ffiL & CRC3S 3TITCH
Mrs. Ruwssell Atkinson
9^-20 157th Street
Howard Beach, L,I«
Vi 3-5983
ARTlSTSj JjJATERCOI.OR^^CHING
PENir'lNK, P-äSTEI.S, CHARCOAL
Mrs, May A/lIauser
76 Home Street
Falrfield, Conn,
Fairfleld 9-0790
Mrs. Marion Ann Mooney
839 Quinton & Tronton Ave^
Trenton, N, J.
Trenton 3-5637
NEEDLEWORI^ PETIT POINT,
NF.EDLE PiilNTIMG
Mrs, V. G, Schroeder
633 Sc ranton Ave,
Lynbrook, L.I.
Lynbrook 1122 J
j^r^r2_2!!lJ^^'^ i TATTING, B0E3IN
LlGE, etc,
Mrs, F. Arms
1824 r:eel:3 Avenue
Bronx, N.Y.
Tr 8-3506
8A-18 150t?i Street
Jamal ca, L.I,
Re 9-1913
Mrs. Hertha Hornbostle
506 Beach 130th St.
RockaYfay Beach, L.I.
Belle ilarbor 5-0768
AFGHANS
Mrs, mT Giere
20 Shore Park Road
Great Neck, L.I.
Mrs. Adelaide Berner
79-39 77 th Road
Glendale, L.I,
He 3-9087
MNiMni2l?-20LLS_^UR|lI23S^
Mrs. W, Curran
U06 Ogden Ave.
Bronx, N. Y.
Jeromc 7-2856
Mrs. G. Cole
588 V'est Englewood Ave.
West Englewood, New Jersey
Teaneck 6-10296
MISCELL4^10ySjt_RIJGS
Mrs. Ann Varga
31-26 9Ath Street
Jackson Koights, L.I.
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SUBSERIES3:
EXHIBITIONS
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(^ah^ k;C|cc C ot v. tti'O«^^
/5S I
Pßore^S»(OfiA L ^KW^
r
Ib^i
€NCC|5H
t^
erna
sculpture
may 14-26, 1951
erna weill is an artist who covrhines
sensitivity with und er st an ding of the
teckntical possibilities of sctäpture.
whether she tises terra cotta, stone or
bronze, her work is characterized by her
desire to interprete emotions.
the portraits and biblical composi-
tions convey her faith in the importance
of the Spiritual beyond the vtaterial
values. jewish ceremonial objects which
she created are successful steps toward
the revival of a field of artistic Inter-
pretation of great challenge. only an
artist to whom the 7neaning of the ritual
presents itself by personal emotional
experiences coidd bave devoted so sincere
an effort to tbis field.
erna weill received her artistic train-
ing in europe, she has acquired consider-
able recognition as teacher of children
and adnlts in this country whom she has
been helping to express themselves in the
sculptural media, the present exhibition
will establish her standing as an artist in
her own right.
herman s. gundersheimer.
q %X^ -
v^
ri.
14.
18.
23.
24.
/
SCULPTURE
samson
/ ^-^'^, (terracotta) P^^t
^ 2. hanna praying for child^)^^ *-'
f^ }. Jacob fights the angel %^.!) f "^^
V 4. one-ness
1^" J. ruth
p- 6. devotion
7. bathing in light
8. baal shem
9. best drink
. 10. embrace
r 11. dreaming ecstasy
X- 12. the young ones
13. prayer
) 10
Q V* Xiimestone)^jX''0 v
tV) (terracotta). 7^^
» tHÖ
««-/^^
at
C
a
r
I
e
fbyc.-"' ¥^.^
david.J -^>tA^»V
2. IC,'
>>
}>
>f
b
4>,
PORTRAIT BUSTS
n. mr. t. / ^*2? --(bronze)
16. philosophical strect clcancr i ^^- (plaster) f^
17. yemenite girl | ^(terracotta) /i>^^
f»
19. c. f. young pianist
20. david listens
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».*•*•*•''
tM8-y-
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CEREMONIAL OBJECTS
21. menorah ^^V^it^ronz^' silver plated) T^^.
22. besamim box "2.^^- " b^f,*Z
shabath candleholder *^ ^ ^^'
challah basket li>^»
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9,6
t »
a
c
h
h
25. menorah
(green glazed ceraniic)
ifÖ
^ 1^4
.s
Cj, lu 'dC r-^
./
lu
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:7 -iC-
t: ü
^mi'^o
I
r
d
ave.
57st
505 West Gheltenham Avenue
PhiladelDhia 26, Pa
April 8, 1951
Dear Erna:
I hope that the enclosed introduction to the
catalog arrives in time. I signed It, bat shall ander-
stand very well if yoa or Mr , Garlebaoh prefer to have
it printed withoat my name , lo\i will certainly under-
stand that no other chanfseii shoald be made withoat
my apr>roval,
My very best wishes for the exhibition.
If I should be able to be in New York while it is on,
I shall go and see it.
Best greetings to all or yoa from Friedl and
myself .
As alvva\ s ,
yoars ,
4«-
4
1
Erna Weill is an artist who combines sensitivity
with understanding of the technical possibilities of
sculpture. V/hether she ases ter a ootta, stone or
marble, her work is characterized by her desire to Interpret
emotions.
]
The portraits and biblical compositions convey
her faith in the importance of the spiritual beyond the
ma
terial valaes. Jewish ceremonia] objects which she
created are successful steps toward the revival of a
field of artistic Interpretation of great challenge,
Only an artist to whom the raeanlng of the ritual presents
itself by personal emotjonal experiences could have devoted
so sincere an effort to this field.
Erna Weill received her artistic training in
Europe. She has acquired consideaable recognition as
T
teacher of ohildren and adulti^; in this country whom she
has been helping to express themselves in the sculptu^al
media. The present exhibition will establish her standing
as an artist in her own right.
Herman S, Gundersheimer
•
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V
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' '• IriiH eill is an artlBt vho combirif^s S'^xit^it' vity
with uncieretanding of the technical possibilitieafof sculptu^e.
Whether she uöeß terra cotta,stone or bronze? , her woi-k ia
characlerized by iior desire to interprete emotioiio.
The portraits and bib'ical compoHitions convey
her faith in the irapürtance of the spiritual beyond tho matorit
values • Jftwish cerf^raonicil objects which ahe created are succei^s
ful s'seps tOATard the revival of a field of artiytic interpretR-
tion of gr* at challenge.Only an artiat to whom the meMninf': of
the *itual preöentö itoelf by personal emotional «/.periences
could h.-ve devote d üo aincere an ff fort to to thiö field .
. Pirna 'eill received her artlstic triining in
Europe« she has acquired considerable recognition as teucher
of children and adults in this countr/ whom ßhe ha« been hclpin^
to expröB.^ themi-elves in the öCulptÄral media /Phe present ex-
hibition ^vill eatablish her aianding as an artist in her OA^n
rie':ht.
.-V
1^
>••
•'V
Herman
Gundersheimer.
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1".
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' K
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f».
V'
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A|ipratsal
THIS IS TO CERTIFY that I, Jo£.efH ..C.:rXeb«i.cti
of the firm of C;^rleba.c.h..Gpl..e.ry.,...Inc.»
located at 50;). . [•..•;.& t.33.rd. f." treet city or town Ne^ lork zone...i002?.
State ^<?.w Xork,.. N, Y, telephone number !^?..7-?^i^.^
am a member of APPRAISERS ASSOCIATION OF AMERICA, INC. and a qualified appraiser of the articies
listed below; that I have carefully examined said articies of personal property at the request of
name Mr.&r..E.rnfi..)^elll
address «^.6. Aloin®. ..^^i^®
...tx
Ter.-neek^-N-iJk- •Q7-666--
and in my judgment their current values are as follows.
ARTICLE
r\
n<*
Note:
DESCRIPTION
Bronze He^ ^ of Fr. Martin Luther King
nounted on mr. rble brse
11" hi^h
Collectionz ^3*Y. Public Libr\-ry
w^^chaT.berg collectlon
Fr* King Community Center
APPRAISED VALUE
?1, 000.00
Signed
s.
f-H^
Date
/^ ,7
m
(yJi-Ul- I
Appraiser
March 5 19 ..^.
THIS ISTO CERTIFY that I, Josef^a Carlebach
of the firm of Carlebach. GfaleI7J..I^c•
located at 500 JEastSßrd Street cityortown New. York zone. 10023
State New.Xork^JI.T* telephone number ^.^^^^^.^
am a member of APPRAISERS ASSOCIATION OF AMERICA, INC. and a qualified appraiser of the articies
listed below; that I have carefully examined said articies of personal property at the request of
name
Mrs.. .Erna. Weil!
ddress 886. AM^^^.^.^^.
• Teanecki N,J•.07666...
and in my judgment their current values are as follows,
ARTICLE
DESCRIPT ION
APPRAISED VALUE
One
Bronze Head of Dr. Martin Luther King
moiinted on marble baee
11" high
$1,000.00
Collection: N.T. Public Library
•
Sch^berg collection
Dr. King Community Center
Paterson, N.J#
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1
Note:
Signed
Date
March 5 19 . 69
KppxmBui
THIS IS TO CERTIFY that I, joaCfA CARLIÄaOH..
of the firm of CAWtf»AOM..CAtttRY..I.NQ.
Nrw YOUK, NtY#
Rf 7 •0116
10028
zone
locatedat 500 ^ Ait 83 RO STRCfT cityortown.
State Hf:w YORK telephone number
am a member of APPRAISERS ASSOCIATION OF AMERICA, INC. and a qualified appraiser of the articies
listed below; that I have carefully examined said articies of personal property at the request ot
name ...
address
TCANICK^ N»d» 07^^
and in my judgnnent their current values are as foilows,
MRi» rwwA wru
886 AtRINC ORIVC
ARTICLE
ONC
DESCRIPTION
BRONZ«- HrAO RCRRtSrNTiNt
ORt MARTfW LUTMrR K|Mt
MOUNTFO ON A MARBtC BA8C»
Note:
APPRAISED VALUE
I 1750.—
Signed
Date
'^r< mn 3/l
IQINJA UtfCL
(iOl,K.\^C1 (0
K_»
ri,{Ä\\NE.^i Ccl^^2C^r-- r, ■ e^)Ce
EP^A uc'i^L e>^K(ßt
^ ''\j
A^ iMc
SCfl 0 N (> A-i^/\J
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£^. f : L
erna
sculpture
schoneman gallery
63 casi 57th strcet
april 23 may 16. 'H^^\
iiew York eity
n
7 i/^/7.
called lipon to analyzc an artisi's oaivrc,
onc is tempted to spcak about his sckooling,
artistic anccsiry and individual style, tcch-
nically and artistkatiy. — but in tkc casc of
erna wcill this approack icuuld fad, bccause
tkc driving force bchind her ivork is mainly
rootcd in spiritual and emotional soil,
ihat this artist was born and educated
in frankfort'On-the-main, for ceniuries a
centcr of german-jewisk culiure and arts,
and became indoctrinated tvith thc thoughts
of ihe jewish philosopher martin bubcr, ihese
wcre circnmstances which left their imprint
an her oeuvre not less, than dul her earbj
schooling by a pupil of auguste rodin.
ihe anguish and iorment of witnessing
ihe horrlble faie of her jewish brethrcn in
her homeland cngendered in her a conipassion
which liftcd ihe cxpressionisiic power of
many of her seidptnres to heights elose to
ihe oeuvre of kaete kolhvitz,
in her poriraits, adniiration for thc Spir-
itual or aj'tistic achievements of her sitters,
even adoraiion for them as human bcings
are paramount movers, dietating style and
ireatment of her sculpiural media. ..
her devotional objects, because of thß
inspired nse of triangle and pyramic^: as
mysiic forms, bdong to her most individual
achievements. and the deathless storics of
ihe old testament with their cast of kings,
prophets and patriarchs are a main sourcc
of her sciUptural ideas.
ihe ccstasics of love and commiseration,
piety and supplication find cxpression in her
most accomplishedy sometimes almost abstraci
ivork. small ivonder that she tvas commis-
sioned to do a sculpture for the cntranee
hall of the jewish centcr in teaneck, n. j.,
ivere she lives, works and teaches. this bronze,
''jacob's dream" belongs to the distinguished
works of jewish artists that adorn some
moderii synagogues in the tinited states,
t' b. f. dolbin.
critics from former exhibitions:
larry camyhcll in thc '*art vcus": er na wcill f.s*
concerncd with ihe rclationship of two fifjurca tn
conflict — or in affcciion — .
aline louchhcim-saarinc}!, *'ncw york iimcs'^:
this is a sculpior who vianagcs to combinc cmolional
approach with a trvc plustic scnsc, — onc uunhlc
picce has a stolid conviction — .
carhße hurrows in ihe '* herald tribunc**: erna
wcilVs sculpture — resolute modcVing — üramaiic
impact, — siiiccrity and deplh of fccling — .
1.
2.
;]a.
3b.
4.
5.
(i.
7.
8.
D.
10.
11.
12.
1:3.
U,
15.
IG.
17.
18.
11).
20.
21.
22.
23.
24
25.
26.
27.
28.
29.
30.
31.
32.
3o.
34.
sculpture
bathing in liglit (liinestoue)
blessings (vermont marble)
elijah and elisah (luarble concrcte)
elijah and elisah (bronze)
dialoguc (art stoiie)
lovers
cercs
waterbui'falos
best drink
twiliglit
dance of love
mother
prayer
chassid
revelatiou
dreani (bronze)
outcry
moses on the nioiuitiun
inj^'atheriii;»" of lli(i exiles
" — and she \n\\ moses dowii at tlie brink
of the river — "
haiinah
the uiiknown politieal i)i'isoner
jaeub l'iylits the aii^el
photo of 'i>aal sheni'^ (luarbh;)
plioto ot* ''Jacob 's dream" (bi-oiize)
portraits
martin buher
e. \\\
Claude frank, x)ianist
rudolf serkin, xnaiiist
natlian niilstein, violinist
yeinenite j^irl
ceremonial objects
eliallah platter
niatzoh j) bitter
nieiiorah
sbabath candleholdur
Sinne of ihese sculpturcs are in (hc pvrmancnt colheti(ni
of ihe f/eor(/ia .stote mus<uin, athens, (/eor</ia; t)irniin(f-
ham vm.seuni, alaboma; jewish ituisenm, n. y.; h(:ahl
mnseum Jerusalem; jewish conimuuity ecuter, icantclr,
n. j.; Jichrew university, j( rusahin.
Original Graphics
hv MATISSE
CLAVE
PICASSO
ROI AI LT
(CHAGALL
KKNl
& OTIIERS
W€»c[4»sip:n and inaiiiifarture pictiir«» fraiiies
of (li^itiiictioii and quality
OSCAR KRASNER, Im
1116 Madison, Cor. 83rd. REgent 4-61 10
IN THE GALLERIES
LOAN EXHIBITION
ROUAULT
April 23-May 15
SCHONEMAN
GALLERIES
63 East 57th St. New York
sculpture by
crna
Op'T
23-lt\C»y
16
Schoneman
.63 East 57, N.Y.C.
X AVI ER
GON7.ALEZ
RECKN'J^ iWlNriNCS
MARTIN WIDDTFIELD
(;.\LLKR^ • (SIS Madison Ave., N. V.
BYRON
GOTO
PAINTINGS
THRU APRIL 27
ZABRISKIE GALLERY
835 Madison Ave. betw. 69 & 70 Sts,
JAMES
Paintings
WATSON
Apr. 22-May 4
MORRIS 174 Waverly PI.
GALLERY D at Christopher St.
Laudsrafu' salv;ij;is ;in inlVrnal suhji'cl - an oil
irliiuTV al iiij;lil- hom tlic ii'>l^'^ <»1 ()Vt'rslaU'
iiKiU (»r ^comt'trical duplit ali(»n. I lic vvhiir
lowcr la (radviiii- |)lani) is a ^liosllv sc-ntincl m
Ihf warm siil|)hnri( (hirkiu'ss. wilh liulc red
Harnes aioiiiul il likf dcmoiiir w()islii|)crs. (U'ul
di(ic'l(i, Mauli 2() -Apiil 1,'0.)-V.V.
Koben Kic-lirnhurK: Maiiv NCiirs ol cllorl liavt-
hrt'ii cxpt'iuk'ci in tlic picparalion ol ilic
(aiivascs, inonimuiital in si/c and uniqiu- in <<ni
((•j)li()n and exet ulion. wliidi compiisc ihis lirsl
ont' man shou. I hc anist has allcniplcd to com
hint- Hat painlinj; and s(nIi)Unal rclitd. a(hit'\in^
iIk' lallcr l)V inrans oi i^lohuUs ol sand niixcd
witli whitf Itad painl wiiiili adiinc lo tlic (an
\as. Il wonlil hf nndt-isialinj:; tlu* east- draslicalh
lo sav niciclv lliat llu- visnal ti-nsion rrsnlting
Iroin tlu' sinuillanc'ous iwo-dimcnsional and
tliice (linicnsional vicws generalis a scnsr ol nn
lest. ;\ctnallv tlic dfctt is acuttlv distnihin««, as
if ihe canvascs werc ciawlin^ with sonie l)a(illi(
life, sonictiines as iinpicasant as il tliev wcic
hideonslv aHlicted with lepiosv. It is uniortunale
hecansc ihis is so lar honi ihc ait ist's protouiuily
sciions inlentioii. In tac h (an\as thcre is sonie
inotivating föne, wliclln-r it he ihf coiillict ol
onc spreading color thicateiiin^ lo engulf an
other or an cinerginp; form Irving lo asser t itself
over the siirrouiiding fornis oi the clashin^ of
light and dark forees in the interior of a (iothic
cathedral. Biit in cach case the swarmingencrusta-
tions distract from the painting itself and rendei
it inefTectual. The Iarge»t painting is a Pielä, a
donhle panel in which one diinlv perceives the
tonligurations which give it its title heneath the
drihhles which run down like the gray nioss
from live oaks over the granidar hiack smlace.
{ Artists. March 9-28.) -M.S.
Kubert Keyser: Ihe ahstrattions of Roheit
Kevser depend for their effect on a cinnnlative
leading rathei than on the displav of physical
energy or the nni)act oi hold forms and move
inents. Ihe eve must slowlv take into accoiint
each richly worked f)assage and each color detail
helore encompassing the whole. Ihere is a lack
of proclaimed scheine or striuture which inakes
ihe paintings inore readilv conipiehensihle in
the random fragment than in the entirety.
Color is the priniarv ftrcc here; the palette is
spilled in its fnll ränge like a casket of genis
over soft, lilinv grounds of white which provide
areas of trancpiilitv in contrast to the ariav of
!)rilliant hiies. I he palches of color shift with a
lilting niotion. tnrningon a lixed ;i\is or rcvoh -
ing in an elliptiral paih; areas of light. pale
vellows and salmon pink resisl the encroaching
i)la(ks. geneiating a (pii( t lension. I)nt ultiniatc-
Iv it is the light that liiiniiphs and (ontains the
dark. Implied relerences to organic natiire are
manilold. hnt hlithelv delv literal analvsis. In
general it is the smalier canvascs which are the
most sn(cessfnl, hecanse their si/c iniposcs a (o
herencc; a largci woik Muh iis Crrcn Triano^lc
snlfers from too hroad a dispcrsal of fornis, a
proliferalion ol ellctts too diüusc to l)e resohed
into a Single entily. (Parma. April 1) .Sl.)— Nf.S.
Jeaiine Kronnian: 1 his lirsi oneinan show hv
a \oimg \meii(aii is ii com iiuing rccord of dis-
(ipline set med and a slvic attaincd; therc is
nothing rudinicntarv ahont it. nothing i)rash.
noihing presinnpti\('lv crvptic. Miss Kronman
ii;is hnnid her wav hv sdiooling hcrself in the
solid strndnics of ( uhist-inlinciucd American
lealism — i.e.. c c)nser\alive ahsiraction. Sensihle
cnougli to feel \estcnlav in ordci to expericiue
lomorrow. she has ahcadv clcNclopcd aullioritv
and a \ieu which is htis-that she has imagina-
lioii. too. shonld go witliont s;iving-an cvolution
plaiidv to he read in tlicse paintings. with their
sieadv i ise of assnrancc to an in(<)ntestai)lc cli-
max. the landscapc l<^tic<),us l}it ntsiofis, |)ainte(l
ihis vear: an aiistcie personid canvas. spare ol
detail hnt emphatic in its relining of clemcntal
Statement arid rock, a single headless tree col-
nmn. a huinished glonierate skv. The foimda-
tions of this achiexccl )>jinting are \erifial)lc- in
the olheis, in the inipec. ahlc if acaclemicallv ah-
siract still liles no less than in Janiinry l'hmr,
three hIack ticcs spaced hv cool dark hhie-gravs
64
and nmher, or in V/^roug// the lon.sl, a hrcjkcn-
line ahstract of tree trnnks ahove a hase of hio-
ken cnhes. or in Rock Forms. modnlalion per-
sonilied hy a fngal surfacc expression which
rivals l'icai)ia in ihis mode. l lior's Cuf>, a dra-
matic steel-lonndry close-np, and Tln' CIkuoc trr
ol the Cottntiunitv (i.e., tide rock, wood, occan
waste and hlocks of granite) snmmari/e her dcht
to the concrete powers of regionalism. Iiom hc-re,
with hj^ncous Intnisiotis (snhlitled I lidden l'al-
/rv). siie is readv to advancc into a \o M'>>»j»
Land, geotropically snstained. (Cha.sc. .\pril 1.5-
27.)-V.V.
Koger Kuni/: \ California painter. Knnt/.
pracliccs a modihecl illustrative realism. Snhorch-
uation of pictorial to formal vahics is never
strictiv atlained. hnt the intention shows mosl
(Icarlv. perhaps, in Callle, where a nuancier of
sicers (lihcrtv taken) forms a warped triangulär
pattern across a reccding fininel of emplv high-
wav. Moodwise, Fcny is the richest painting,
mostiv a sheet of hlne with rnddy clepths, the
lerrvhoat and a tank tower punctuating the ma-
rine expanse with alhescent gieen. In the Mexi-
can vistas ( Ilaxcala. Mitla and C.nadalajara) he
concentratcs on harocpie forms of architectnre.
vvarmlv niani[)ulated; he hrings a siniilar relax-
ation of surfacc to an interior siudv (textile
plaved against brick, wood paneling. llowers and
a dog) otlierwise academic. Rock fragmentation
gives Shell lieach its esseiitial charac tcr; ihe snh-
ject would he niore memorahle if fnrlher ah
siracted. (Barone, March 12-30.)-V.V.
Rmlv Pozzatli: Hie ränge and skill of I'o//at-
ti's graphic work, from the hlack and white
woodcuts to the color etchings and engravings,
are impressive. Ihe coniposition, particnlarly in
manv of the architectural suhjects, is firm and
orderly, and the feeling for the medium itself,
the geneial cleanness of the work, is admirahle.
It is the drawings. however. which for one viewer
piesent the highpoint of this exhihition. VVork-
ing with stick and hrush in India ink, he is ahle
to produce a line varietv of line and toucli, from
ihin delicacv of outline to broad accent, a neat
calligraphv which sharpens one's perception of
a co[)se of liees or of the nubby texture of a
scpiash split in halves. The drawings also havc
ihe acldilional virtue of cschewing the decora-
tive elfects which occasionallv mar the graphic
work. (Wevhe, March 12- April 10.)-J.R.M.
David Levine: In ihis group of working sketches
and watercolors. Levine sets forth the pleasures
of sinnmer with beach scenes of figures wading
or hasking in the sun. His drawings have a dry,
siraighüorwaid cpiality, a matter of broad strokes
and shadings, lliat siiggests the hard. uncom
promising giarc of noon. Ihe watercolors, de
voted to the same themes. adoi)t a softer atmos
phere, as in the small Picfiir, one of his best,
with i)alc warm washes of grays, browns ancl
sellou^-beiges. I he technicpie. one of controUed
nndeistatcment. of broad areas supplied at the
right moment with bits of ])recisc detail, pro-
dnces a niimber of happv results thronghonl the
rntire show. (Davis. March 14-April i:^)-|.R.M.
Madeleine Rupert! : It is la/y-fashionable to
cleclare tlial anv new Licnch painter whose
arrival lias not hecn tninipeled bv the morc in
llnential organs of the }ness is a carbon copv ol
Malisse or Dufv or Bonnard or Bullet, depend
ing on the proveiiance of his mode. Certainlv
the case wilh which minor Parisian schooled
painlcrs manage to annex one or other of their
maslers' tcchnicpies is startling; as a result. modi-
lication ancl inert derivalion bcconie confused
in the eves of not a few gallerv inhabitants.
Mlle Riiperti-she's Diitch and rrench and an
oft-lime resident of Sw it/erland — is derivative
onlv in the best sense of liaving derived her
(iilli\ation from the I'arisian continnitv, which
seems to pro\ icle cndless resources for anv paint
er hellt Icss on expressing his ecpiivocal seif llian
on expressing another variant of the ecjuivocal
object. Hins, in Mlle Rupertis lirst American
show, those almost iconical still life elements of
recent historv receive vet another embodiment—
ARTS/.//>n7 7957
Ihc icsulls li.i\c IxiM (()iisi(l('i;il)lc ;»n(l. lu» doubl,
|>(isnii.ill\ u\v;ir(liii«; l<»r ilic iiilisl. ( 1 ;ni;igir,
.\Liitli Ü!» April IS.) J.K.M.
Paul Hrarli: l^üulis ahsliat I ioiis 1ki\c soimc-
liiiu's hccn ( ()iii|);n cd to hirds in lli«;lil. I lu\ <l(»
not l(M>k likc hiids. 1)111 iluMc is sonulhin^ ;d)(»ul
his soll, bricht sirij)s ol (olor <tlu\ stein lo
nii\c ii|)\v;u(ls and (niluards) tlial icmiiids oiu-
ol tApcric'iHfs in waubin^ hirds. I lit- shii)s aif
nol sba|)i'd likc icallicis but lbt\ liaM- a IIuIUia
(|ualil\. aiid liiou^li llitrc is no IxkK lo liold
ibcin in |)la(c. llu'ir ^loupin«; n»aki's onc kil
(lial lluTc arc lo( i in tliat spatr uilli a dclinilt
it dilitaU- siKiidiial |>nll. StAt'ial ol llitsc (an
\asi-s havr bct-n tillcd loi iIk* inoxcmcnls ol a
iiipc in a bnlHi^lil /V/r;/^/. l'rxmifd. l-uml:
.irnni<l(i bas a (ond'nliat ion likc Ine; and in
ilu'itniti- llu- \aiiations in iiiass. tbc soll sbadow
arcas. tlic dclitalc (oloi waslus. ilic variclN ol
IcMiiit' and brusbwork taldi oncs aiunlion.
wbidi in ocncial is licld b\ llu- linllcrino bii*;bl-
ncss ol a brillianlb \ ai ic«;al('d palcllc. ((.asiclli,
April 18 MaN l.)-l..P.
Malta: Mullas icdniiial lincssc is cnciv ulicrc
in cxidcnd' in tbis cxbibilion ol bis painlin«»s;
ibc ibin. brillianl (oloring. llu- dixUions iinc
are pni to servier in a scrics ol billcr |)(>liii(al and
social (oinincnlaiics. Hmnan and phinllikc lortns
snilcr a tbanj^c. a landscapc ( 7 //r (.rccn ol
II //rr//) bc((>nK's a lanlasli( macliincol wircs and
sparkin^ ncrvcs. ibc lii>inc bei onus a onc cNcd
robol slian^lin«; Uvo birdliki'. boinhlikc sbapcs
(I .'Oi.scnus.sin ) or sils j^rapplinu hiilliaiil <«ifcn
apj)lcs ili('i}i(r lirnulcous). Ibc Rosi'id)crj4 hial.
anion^ olbcr conimcnlarics. is iiniochud in onc
oi ibc Icss snc(cssfnl works. / r l'xxrs des xims.
(lolas. Manb ."■) 2(i.) - | .KM .
Chaiiiiiii^ Peak«» aiul llouaril Vi'arsliav^ : l^oili
arc Calilornians. P>olb paini nnnalsi/c oi wilb
a nnnalist coiucption. Botb arc prcotx upicd wilb
ihi iioisc as a synTnoi ol j)o\m'I. i>oiii cinplov a
rc(cnt plasli( (()n(i'|)lioM i lonnd cxcrwvhcrc
froin Picasso lo I.cbrun) wilboul coiinnillint;
thcniscivcs to fiirllicriiif; ils possibililics. War-
sliau is tbc morc biininons bnl npon dose in
.spcdion is sccn lo bc essen lialls a tballsinan wiio
ini|)oses grandiose (olor as a snblci bii't': bis tol-
laj^c. Siudirs for Math, is morc integral iban ibe
otliers. i'cake's large absiradion. nua/ lin(i<^(\ is
bold. nierelv; s(rnlin\ re\cals, as uilb Warsliau.
ibe llavorless bod\ ol llic idea. and rctalls ibe
perennial image so irrilalini; lo ( al ilornians—
lu)\\ lasiclevs ilieir (pn(k ripened. (olossal Iruil.
(Seli}>inann. leb. 2r)-Mar(b l().)-\'.Y.
Dii'l/, Eclzard: Allliongli diese still lifes in oil
ol llowers and innsiiai insirnments are solidh
painled and i;(>nciall\ well (onslrui led, ibcv in
dnige loo inndi. one leds. in i onianlic. swcel oi
noslalji;i( senliinenls. Ihe subjeds ihc pink and
Ncilow roses in prolnsion. ibe niandolins. ibe
nnisiial siorc sliccls. ihe siri|)s ol bbnk M'hel
ribbon are ones thal are now so liea\ilv laden
wilb asso(ialions tbat tbe\ reipnre soinc restrainl .
ansleritv even, il lbe\ are lo bc dcall willi al all.
Ivd/ard's le( bni(pie— beaw . rieb sirokcs ol (olor
and \ agne b)rins does nol sei-ni to ollei cnoni;!)
Dit'tz h^dzartl. ( wARns; al llaunncr.
resisiaiKc lo bis sni)jc' i nialti-r. One snspeits
llial lo see inlo tbc heai 1 oiseniiinenl (and ibat
u(.i(l nol iiscd disparaginoh) recpiires a veiv
Id eve. (Mainincr. \laidi L'b \piil I."..) |.K.\I.
( o
JaiiH-> Ui-ook>: Uli' ^'iMclN <d Un.oks" lorins
and rlnlbins, tlie dian.i-es (»I predonnnanl (olors
ubidi odiir in eadi ol ibcse large abstrae t ions,
a((()nnl b)r inndi ol llif iinpicssi\eness ol ibc
exhibilion. In (.<n<li(>fi. aIiIi ils deep reds. blacks.
ubites and pale bbies. ibe lorins are iliai-onal
ibrnsts wbidi sei np st riu 1 in in^ likc binit planes
a( ross a narrow bori/onlal s|)a(e. Pcnaloa is a
niass ol soineuhal o\oid ( oidi^inalions in bri( k
reds and \ar\ing ros\ liiils wiib ateenls ol bla( k
and ligbl bliics. Nie l(»rinal rbvlbins in Anilcc
aic s(Mne ol tbc niosl ^lacclnl in tbc ixbibition.
bold aial)cs(pics ainl ibnisls ol (olor. I bc blaiks
and browns (tele lo laige e\panses ol (reain\
uliilc llial deepen inlc» inlense pinks and oranges.
Ibe Overall inipiession ol llie cxbibilion is one
ol ridnu'ss. \ariet\ and (onlrol uilbin tbc sl\lc
b»r uhidi ibc arlisl is well known. (Stabic.
Mardi L'."» April LS.) j.K M.
Caiiu-mn Hoolli: 1 li<^" Suggestion (.1 place, al a
(criain linu (d dav. vvith ils cpialities ol bgbt or
inolion. is (onveycd bv tbc artist tbn.ngb appro-
priatc coloi and tbe cbarader of bis torins and
ibeir relalionsbi|)s. ratber tbaii tbrongb any de
sign (biet t In iraccable to a spee ilic ccpiiNalcnt in
nalure. In Soriij; of tlu Dunes, Uoolb trics to
((Mnniiinieale to tbc eye a Sensation pcKtivcd
ibnuigh tbe car. tbat fc»l all tbc sounds one
wonUi heai Uing aiind tbe sand dunes the surf,
ibe birds. ibc inseds. llie brec/c rullling ibc
ree(l\ grasses-and bc (on\e\s tbis tbr()Ugli a
liesta ol wann (olors. dustering and rising to
gelber in an iniproinplu (cntral eoluinii of vari-
egalcd sbapcs. stirrounc'ed bv Hat vellow arcas.
In Ol Ihr Sra bis (oncern bas beeii to approxi
male the ro(king inolion of tbings alloat on tbc
sca: and bere, altbongb llie sense of tbe bobbing
hads and lorlh is preseul. tue sbapcs are mndi
niorc sharplv delined even sligbtly niodeled)
ibaii bas been distoinarv in bis work. It is true
perbaps tbal all bis work bad bceonie ürnier dur
ing tbe pasi two vears in tbe boldness ot tbe
(olor and tbe iniposilion of a stronger (obereint'
on (anvases whidi bave at tiines tendcd to bc
disorgain/ed. hui it letains tliat a((uratc sngges
li\it\ and ibc (oniplcx plav of sbifling bnnis
across llie lield ol \ ision wbieb bave altraded at-
tention in bis morc retenl cxbibitions. (^Sdiaeb'r.
Marcb li.^i-April lli.)-M.S.
Jam<»s Pt'iiiH'v: I lu'rc arc a innnbei ol dillet
eni approadics to painling in tbis sbow. bot
none of tbein arc fullv explored. citlicr in tbe
realin of the probletns tbcv nngbl oMcr or in
tbe feeling lbe\ inigbt express. Soine are well
striKtuied long views of landsea|»e. su( b as
Ouariw wbidi indirate (witb soine su((i'ss in
iTus case) a knowli'dgcaMc (are for tbc ainl)ign
ities of eonteniporary spate; otbers are slraigbl-
forwaid inii)rcssions Of ligbt-struek objcds. sueb
as Irres, W itiler: and sonic arc pastidics of (on-
leniporarv inaiuicrs ibai eoinc out as not un-
|)leasant dctoralion. I bc painter scems lo tarc a
lillle hu a varielv of painling (oiHcpls. but
w here his tontern riiiis deep is nol evident.
(Kraushaar. April I 'J().i-\.\.
Xavior (;<Hizalez: I» '»'^ li>b'sl work a sirugglc
ulii(b sbould have long sintc been resolved,
belwcen design slnuliire aiul 1 bcatrit alitv or
)n\sti({\ie, (onlinues to nake itself b-ll. Ibe il
lusiralive |)oinp of l.didseafx' in Con.sh n( lion
is an unloilimale crior of tasle, and in l<»o nianv
olhers tbcre is an easy dialedit of sirong lorc
gronnd inasses againsl d'lluse batkgrounds. wilb
iudirsions of "invsterioiis" bgbt. (.on/ale/ is at
his best when Ixtinlin;^. whitb is lo sav when
lies prcotxnpicd wilb die (pialilv of a subjett
and nol ils proj)bcti( nsidue. when. as in C.on-
i'cxoi 2 (U linker S/ioj>, \\c reiidcrs ibe otddt
inilicu (d let bnologit al adivitv. wilb dia})ba-
nous. irregulär lorins and a varicgaled surlatc
wliitb his knowicdgeab'e use ol niixcd media
has brougbl to rcseinbb (ollagc. liiizzards' liay—
lirid'^e is neitber so eoiiiplex nor so absirati as
ibesc but bas a line soaiing strengtb. and I e\ns
63
known
for
Creative
framing
expert
restoring
the house of
heydenryk
141 w. 54 St., n. y. 19
Marilyn 1 Bernice Adrienne
KLEINMAN I WINN CAMILLI
April 22-May 4
BURR GALLERY io8w 53St.,n.y.c
EXHIBITION
FIVE YEAR SURVEY
HAYSTACK MOUNTAIN
SCHOOL OF GRAFTS
ARCHITECTURAL LEAGUE
115 E. 40, N.Y.C.
APRIL 1-13
^IIJJA>I
Apr. 22-May 1 1
GROPPER
Recent Paintings
AC A 63 HAST 57, N. Y .
1 ERNESTO
Ist N. Y. Showing
TRECCANI
GALLERY
john heller reosf 57
ANNIE
LENNEY
Paintings Apr. 22-May 4
Ward Eggleston Galleries
969 Madison Avenue (at 76 Street)
FRED
MESSERSMITH
First Showing ^P"l ''3
barzansky galleries
i^H^^Bl071 madison avenue, ar 81 street^^^»^""
EKTACHROMES
_ PRINTS IN COLOR
Peter A.Juley &Son
PAotoarapAers of Fin% Art»
225 U^»t 57* StreefNew York City
AUFBAU
Prtday, April 26, 1957
WIR KAUFEN-
GrapMscheKunsfwerke
deutscher Expressionisten und
Meister wie
BECKMANN. FEININGER.
I KIRCHNER, KOLLWITZ. NOLDE.
SCHMIDT-ROTTLUFF elc
HlwlÄRlCiÄfii
|J193 Lexlnglon Ave.. N.Y. TR i-n^5
sculpfure by —■"■■^
et«***
M'
3.>A'c^V
\b
Schoneman
63 Easl 57th
Kunst
"Trends in Watercolors
Today"
DiKS Brooklyn Museum, das für
Brooklyn seit gut zwei Jahrzehn-
ten die Rolle spielt, die in Man-
hattan auf vier Institute (Metro-
politan, Whitney, Museum ol"
Modern Art und nun auch Mu- j
seum of Primitive Art) vorteilt
ist, konfrontiert in seiner 19.
l7iternatio7ialen Aquarell - Au,s-
stellung Italien mit den U.S.A.
<?ö Amerikaner sind da, ioder mit
einem Werk, 50 Italiener mit je Awei
oder drei Arbeiten vertreten. Eina
vortreffliche Massnahme, denn die ita-
lienische Abteilung stellt vjcle neue
Talente vor, deren Eigenart kaum
durcli ein einziges Beispiel kennt litii
ge)nacht werden könnte.
Abstraktion dominiert — mit weni-
gen Ausnahmen — beide Ciruppen.
Souveräne Beherrschung des schwie-
rigen Mediums ist ausnahmslos test-
steilbar. Strenger organisierte Bild-
k«mposition überwiegt bei den Italie-
nern, treies Spiel mit amorphen For-
men bei den Amerikanern.
Sonderbarerweise macht sich, der all-
mähliche Rückzug von extrem -ab-
strakten Positionen in den Aquarellen
der Amerikaner stärker geltend, ob-
wohl es doch diese waren, die mit
ihrem "Abstrakten Expressionismus"
die westliche Kunst ansteckten.
Mangel an Raum zwingt uns
zur Beschränkung auf die Erwäh-
nung weniger Künstler, wiewohl
viel mehr es verdienten: die
Italiener Afro, Ajmonc, derlei,
Cremonini, Davico, Manzi, Mo-
rand'i, Nuvolo, Santoniaso, Scia-
lojd, Vespignani, die Amerikaner
Bonge, Candell, Jimmy Ernst,
Frasconi, Heideiireichy K^ncpncin,
Peterdi, Salernme, Vicente, Tarn,
Tobey, Max Weber, WUliam
Zorach.
Diese Schau, wie die "Nnv
Presentation" betitelte Ncuoid-
nimg von Skulpturen, Aquarellen
und Keramiken im jüngsten Gale-
rJp-Zubau des Museums lohnen
einen Besuch reichlich.
B. F. Dolbin
ERNAH^EIU
Schoneman Gallery (63 E. 57 Sl.)
A low seasons back we wrole
a lenglhy piece about this artist
whose career as a sculplor was
cut Short by the Nazis. We pic-
lured Ihe muking oi" her artistic
personulity against the back-
Sround of her upbringing in the
mlellectual and spirilual atmos-
phere of her pateinal home in
Franklort-o!i-Main— ior cenluries !
d center of Gcrman Jowish culture
and arl-^ and her studies under
the ^uidance of a pupil of Auguste '
Rodin. I
The sculptures we saw in her Forest,
Hills studio, linished ones as well as
I oUiers. in diverse preparatory stages,
1 reveaied a talent ol: undeniable m-
I clividuality. that is worth watching.
Since then. Erna Weill has had the
success we predicted, culmmated in
commissions lor tiie Jewish Commun-
ity Center m Tenneck. N.J. (Site of
her prescnt home and studio), arul for
the new 3vnago;.;ue on Suund-view
Avenue m VVhite Flains. N. V.
Most of tlie 34 piecfs in her retio-
spective exhibition at Schoneman s
belong io a scries inspired by stories
trom the Old Testament. with
their imposing cast of kings, prophets
md patriarchs. In some ol her sculp-
tures notably "Moses on the Moun-
tain". "Jacob Fights the Angel" and
•Revelation"; she extends the Kodin-
esque style for her pi)rtraits-out-
Standing among the latter are busts ol
Martin Buber. Rudolf Serkin, Claude
Frank— tar toward tne borderline ol
coinplete abstraction.
"Outcry '. "Ingathermg ol the Exiles"
and "The Unknown Political Prisoner '
are sc\ilputred expre.ssions of deeply
lelt anguish and commiseration.
Ceremonial objects — a bronze
"Menorah", a ceramic "Matzoh-
Platter" and silver "Challah Plat-
ter'*— show craftmansltip as well
as imagination in the use of tri-
angle and pyramid as mystic
for ms.
Some of her neblest achieve-
ments, such as the large bronze
relief "Jacob's Dream" for the
Eine Frau ohne Hass und Furcht
Von Richard Oyck
Der Verlag Beacon Press in
Boston hat soeben ein Buch vcr-
öfTentlicht, das jeden aufs tiefste
bewegen wird, der durch die
Schrecknisse der Hitler-Hölle ge-
gangen ist und bemüht war, sich
aus einem Europäer m einen gu-
ten Amerikaner zu wandeln. Das
Buch heisst ''The Unforgotien",
und seine Autorin ist Ilse Staii,iey.
Sie ist die Tochter des
Oberkantors Magmis Davidsohn,
der in dem berühmten Berliner
Tempel der Fasanenstrasse bis
zu seiner Niederbrennung in der
''Kristallnacht" vom 9. November
1938 als Chasan mit schöner
Stimme seines Amtes waltete und
den alle Leser des "Aufbau" als
einen langjährigen Mitarbeiter
kennen. Ilse Stanley war vor
Hitler in Deutschland eine be-
kannte Schauspielerin, Rezitato-
rin und Theaterdirektorin. Doch
in den Vereinigten Staaten, in
denen sie und ihr Sohn Manfred
seit Jahren ein Heim gefunden
haben, wurde sie Millionen von
TV-Zuschauern zu einer fesseln-
den Persönlichkeit, als sie im
vorigen Jahre in Hollywood von
Ralph Edwards in seiner TV show
synagogue in Teaneck and the
imposing marble carving "Baal
Shem" are, by necessity, shown
only in photographs. Neverthe-
less, this exhibition teils why
Erna Weill belongs among the
distinguished artists whose works
adorn the most modern syna-
gogues in the United States.
'- " B. F. Dolbin
"Jacob's
Dream"
by
Irna Weill
A sculpiure
commissioned by
Ihe Jewish Com-
munity Center,
Teaneck, N. J.
Ilse Stanley,
die Autorin der ungewöhnlichen
Autobiographie 'The Unforgotlen'
'This Is Your Life** vorgestellt
wurde und ihre Lebensgeschichte,
den Passionsweg einer deutschen
Jüdin, erzählte.
Dies war für Ilse Stanley ein
di^nkwürdiger Tag. Man kann sa-
gen, dass von ihm eigentlich ihre
literarische Karriere in Amerika
datierte. Nun hat sie ihr erstes
Buch in ihrer neuen Heimat ge-
schrieben — ein Buch, das auf
dem Büchermarkt, und nicht al-
lein auf dem amerikanischen, sei-
nen Weg machen dürfte.
Ob tna» es liebt oder nicht, nie-
mand kann an Ilse Stanleys **T/ie
Unjorgotteri' gleichgültig vorü-
bergelien. Es ist die Geschichte
ihres Lebens, und doch viel mehr
als eine Autobiographie. Es ist
zuerst und zuvörderst eine grosse
Konfession, die Lebensbeichte
eines religiösen Menschen. Ilse
Stanleys Gott ist ein Gott der
Lieb., der Versöhnung, des Ver-
gebens, ein Gott der sie nicht zu
hassen lehrt. Und ich bekenne
ganz ofTen, dass ich zuweilen ihre
Hasslosi^keit selbst gegenüber
den braunen Folterknechten,
recht irritierend fand. Ilse Stan-
ley iiJbt auch zu, das.s selbst ihre
besten Freunde ihr in dieser all-
umfassenden Menschenliebe nicht
immer zu folgen vermochten.
Doch Il.se Stanley ist nic^t al
lein ein Mensch, der in jedem
Mitmenschen den Bruder sieht
und an das Gute im Menschen
mit eiserner Konsequenz glaubt,
sie ist auch eine Frau von grosser
Furchtlosigkeit Wenn man im
ersten Teil des Buches, der der
Hitler-Aera und all seinen Greu-
eln gewidmet ist, liest, wie sie
sich unerschrocken in das Haupt-
quartier der Gestapo und sogar
allein in die Konzentrationslager
wagte, um Juden zu retten — 412
Opfer Hitlers hat sie ihren An-
gaben nach ganz allein aus den
Klauen der brauneti Inciuisition
herausgeholt — dann zieht man
bewundernd den llul vor .«soviel
Courage und Furthtlosiiikeit einer
ganz allein auf sich gestellten
Frau.
Der erste Teil dieser Autobio-
graphie, die für einen literari-
schen Erstling auflallend gut ge-
schrieben ist, enthalt einige un-
vergessliche Partien. Selten ist
die Niederbrenn ung der Synago-
gen mit so erschütternder Wucht
und Dramatik dargestellt worden.
Oder ich denke an die aufregende
Szene bei der Gestapo, als die
Autorin anstelle ihrer vorgelade-
nen Mutter bei diesen Bestien er-
scheint und sie schliesslich, allein
durch die Macht ihier Persön-
lichkeit, zähmt und umstimmt
Doch so erregend und lesenswert
der erste Teil ist, den zweiten, die
Geschichte ilires Einleljeus in
Amerika, stelle ich höher. Dieser
Teil ist eines der besten Lehr-
bücher der Amerikanisierung, das
ich je gelesen habe. Aus ihm kön-
nen alle, die nach den Vereinigten
Staaten kommen, viel, sehr viel
lernen (und auch die. die schon
hier sind und Fuss gefa.sst haben) .
Ilse, die sich in Amerika mit
dem Schauspieler Mihon Stanley
nach der Scheidung vom ersten
Mann verheiratete\ beschreibt ih-
ren amerikanischen Lt^bensweg,
der ganz und garnieht nur mit
Rosen bestreut war, mit erfri-
schender Lebendigkeit und nicht
selten mit feinem Mumor. Sie
beschönigt nichts, verniedlicht
nichts und nennt die Din^c immer
beim rechten Namen. Ihre Er-
lebnisse an Bord auf der Ueber-
fahrt nach New York sowie die
Schilderung der ensten Wochen
in der fremden Riesenstadt, in die
sie, der englischen Sprache so gut
wie unkundig, plötzlich veischla-
gen ist, verraten das echte The-
(Forlsetzung auf Seite 7)
Die Rockefelier-Stiftung,
die kürzlich wieder einen gros-
sen Betrag für Forsehungszweke
auswarf, hat de.m Germanisten
Prof. Walther KiUy von der
Freien Utnver,sitäi Borlni 5100
Dollar überwiesen. Din- Betrag
solidem Studium neuer deutscher
Literatur in den Vereinigten
Staaten und in Kanada dienen.
Jüdische National-Biographie
geplant
S. Wininger, der in dvn Jah)en 1«)25
bi.s 1936 eine Jüdisthe Nat iun.ilbio.i?ra-
phie in siehen Biindon vcröflontliclit
hat, in der Daten über das Leben und
Schaffen von etwa i j.uüo .lüdischen
Persönlichkeiten enthalten waren, lebt
jetzt in Ramat Gan in Israel und ar-
beitet daran, in hebraisi tier Spr.jclie
eine auf den heutigen Stand «ebrachle
Ausgabe dieses Lexikons /usammenzu-
stellen.
Bringen Sie Ihre Lieben
l
/
Thurs<
1
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\
p
Of Special InteresfTo Women
COOK'S COUNSEL
y
Nutrition Week, May 5-9:
Food Shapes' Your Future
I By ALICE FIELD
ANYTIME, of course, is a good
tlme to begin a program of good
nutrition, especially now. New York
City's Food and Nutrition Council
will help you along your way, as
its eiglitli annual Nutrition Week
begins Sunday and continues to
May 11.
The Slogan of th^ event is "Food
ßhapes Your Future". which is
true both ''figuratively" and liter-
ally. But "figures" aside, even non-
reducers might vvant to get on the
bandwagon of sensible eating —
In View of the latest data on the
nutritional relationship to long
life and good health
A guide to good eating, sug-
gested by the Council on Foods
and Nutrition by the American
Medical Association urges the fol-
lowing:
MILK: two or more glasses daily
for adult; three or four for child-
ren.
VEGETABLES: two or more
«ervings daily other than potato
(one green or yellovv; "greens"
often).
FRXJITS: two or more servings
daily, at least one raw; citrus fruit
or tomato daily.
three t( five a weck;
[preferred.
:heese. fish poul-
or more servings daily.
hs; peas, peanuts occa-
ko «d •«
AND BREAD: two or
igs daily. Whole-grain
jnriched. Added milk
»utrvtional values.
two or more table -
make interesting salads are always
welcome, and those that foUow
have : tangy touch provided by
golden brown prepared mustard:
LUNCHEON SALAD
2 cups diced cooked corned beef
1 cup chopped celery
2 tablespoons chopped sweet
gherkins
2 hard-cooked tg^?>, chopped
2 tablespoons <6 teaspoons)
mustard ^
I4 cup mayonnaise ^
Salad greens
Combine first four ingredients.
Add golden brown prepared must-
ard to mayonnaise and toss with
corned beef mixture. Serve on
crisp salad greens. Makes 6 serv-
ings.
Salmon Surprise Salad
2 Ulb.) cans salmon
1 cup chopped celery
2 apples, peeled and sliced
1 tablespoon butter
ia cup sour cream
2 tablespoons (6 teaspoons)
mustard
tablespoon vinegar
teaspoons horseradish
teaspoon salt
tablespoon lemon juice
hard-cooked egg, fineiy '
chopped
Salad greens
Drain salmon and flake; add
celery. Saute apples in butter until
soft. S'ove. Add remaining in-
gredients except egg and greens
and beat until smooth. Four over
salmon mixture and toss well.
Serve on crisp salad greens and
1
2
1
1
CAROL JOY NEUFELO
MissNeufeld's
Troth Told
Mr and Mrs. Philip M. Neufeld
of 365 West End Ave., New York
City, announce the engagement
of their daughter, Carol Joy to
Mr. Daniel J. Heller, son of Mr.
and Mrs. William Heller of New
York. The couple will be mar-
ried on Sunday, Junt 30 at The
Savoy-Plaza.
Miss Neufeld, an alumna of the
Bentley School and Sarah Law-
rence College '54, Is presently a
member of the Press Department
of Columbia Artists Management,
Inc. She is Secretary of the Junior
Board of the Grand Street Settle-
ment House.
Mr. Heller was graduated cum
laude from New York University
and from Brooklyn Law School.
A member of the New York Bar,
he practises as a C.P.A. and at-
AROUiVD town
By DEBOKAH FRANKEL
In the one man exhibit at the
Schoeneman Gallery, 63 Fast St..
New York City, there is a treat
for the soul as well as the eye,
the art of Erna Weill.
Style, technique, and approach
and a deep spiritual quality stir
the Imagination, break tl^'ough
the v^arious hard media that she
employs, whether it be terra-cotta,
bronze, marble or quick -drying
plastic.
She draws upon the scriptures
and the history of the Jewish peo-
ple for many of her devotional
subjects. Deeply religious herseif,
her subjects have an inner
gleam. Small wonder then, that
she was twice commissioned to
sculpt entrances and side walls
for temples.
Born in Frankfort-on-Main. a
center of Jewish culture, she early
imbibed thoughts of the great
Jewish philosopher Martin. Buber,
whose humane principles she
strove to incorporate in her work.
Later, the Hitlerian reign of
terror, with its anguish and mis-
ery, evoked in her still greater
comi)assion that emerged in her
work.
Her biblical subjects include
Sampson, Hannah and Moses and
many legends from the "Song of
Songs". In these are evidences of
mysticisrn .tragedy, humility, piety
and supnlication. In others, there
are love and hope and resignation
— and the sense that such suffer-
ing could not have been in vain;
that, sometime in the future, a
better race must emerge, glorious
and triumphant.
Erna Weill also designs cerc-
monial objects — chalices, candel-
abra, bible reliefs, sedar dishes,
etc. She has even manged to get a
biblical devotional flavor inlo a
set of chess.
Her Portrait modelling includes
fcusts of F.D.R and Mayor La-
Guardia, distinguished musicians
and artists. Her treatment and tlie
material she uses vary greatly, dc-
pending solely upon the siibjeit.
She is a forme; pupil of Aufrüste
Rodin, the French master, whose
influence left an imprint on her
Vvork. While her early works re-
flected the classic in form^ her
later ones are more impressionislic
and more abstract. Her studics of
Moses, and his mother Hanna 1t,
and Baal Shem, reveal a bent to-
w^ards cubism, while still main-
taining a healthy respect for llie
human form.
Erna Weill has also had a one
man show at the Carlebach Gal-
lery and her sculpture has been
exhibited abroad and at home.
Her work is currently in the perm-
anent collections of the Birming-
ham Museum, Ala. — the Georgia
State Museum, Athens, Ga., tlie
Hyde Park Library, H. P. Ny.,— '.iie
Bezalel Museum and the Hebrew
University in Jerusalem, and the
Tel Aviv Museum.
She will be exhibited r.t the
Schönem an Galleries until May 16.
Since her arrival to U. S. in
1937, Erna Weill has created sev-
eral hundred pieces of sculpture.
RODIN EXHIBITION
WILLÖPENFRIDAK
French Sculpture to Co on
View at Museum of Art —
Hofmann at Whitney
»Vl-av^
^"»n*V
Among outstanding art events
this week i> the Metropolitan
Museum's exhibition. "Rodln and
French Sculpture," open.ng on
Frlday. The display will place j
emphasis on the museum's ex-,
tensive collections of work by,
Rodin. Degas and others-exam-
ples that have not been shown
for some time.
The Whitney Museum will
op^n a retrospective exhibition
of work bv the influential artlst
and teacher Hans Hofmann on
Wednesday.
One-man shows include work
by a number of well-known
American and European artists.
The Society of American Ab-
stract Artists will h" ^ 'ts
twentv-first annual exhibition
A list of new art attractions
for the weck followa:
TOMORROW
Cailvle Brown Catheiine Vivi- 1
ano, 42 Käst Fifty-sevcnth
Street. Paintings. ^v. i
Donald Carrick and Chna fehel-
ton-Barone Galle.y. 1018 Madi-
-on Avenue. Paintings.
Sholim Farber-Haiiy Salpeter
Galleiy. 42 Käst Fifty-aeventh
Sticct. Paintings.
Groppei-ACA Gallery, 63 Last
Fifty-seventh Street. Paintings
and lithographs
John Heliker- Kraushaar Gal-
leries. 1055 Madison Avenue.
Paintings. _ ,
Hang Jaenisch - Kleeman Gal-
lerics. 11 East Slxty-elghth
Street Paintings.
Annle Lennoy Ward Eggleston
Galleries. 969 Madison Avenue.
Paintings. .,, , v m
Raymond Mintz-Frank K. M.
kehn Gallery, 683 Fifth Avenue.
P^-^intings. ^ ...
Santomaso - Grace Borgenicht
Gallery. 1018 Madison Avenue.
Paintings. . ^,.,.,.„
J-vmes Watson-Morris Galleiy,
mWaverly Place. Paintings.
Group Exhibitiom
Burr Gallery. 108 West Fifty-
sixth Street. Paintings by three
Thrclntemporarles. 992 Madison
/venue American Abstract
Actists, 21st Annual Exhibition
Davis Gallerics, 231 East Sixtieth
St 'rot "An Intlmate Collec-
tlon" of European and Amen-
c.in paintings. ,„ tr. ,
SHnv Janis Gallery, 15 East
Fifty-Peventh Street. Modern
art fiom Brancusi to Gia-
M^'i-ch^Gallcry, 95 East Tenth
Street Work by thirteen mem-
hers and thirteen guests
The Studio Gallery, 22 East Thir-
teenth Street. Portraits, char-
actev studles, impressions of
people.
TUESDAY
Fernando Bosc-Petite Galerie,
129 West Flfty-sixth Street.
Paintings. „ ,
Loonor Flni- Gallery SeventV;
Five, 30 East Scventy-fifth
SMeet. Paintings.
ß:,bro Hasegawa-Wlllard Gal-
lerv 23 West Fifty-sixth Street
T^Temorial exhibition of paint-
Eirofb'Hara -Grand Central Art
r-ncrics. 15 Vandcrbilt Ave-
m-. Water-colois. ^ , ,
Alt mir Osver-- Grand Central
Modern«^, 1018 Madison Avenue.
^l'^Uh^is^^Padua-Van Dicmen-
LiUenfold Galleries, 21 East
Fifty-seventh Street. Pi^'ntlnKS.
Rouault -- Schoneman Galler.e .
63 East Fiftv-seventh Street.
T.onn exhibition of paint;"^«- „.
Sf.fanelli Poindexior G.aller> 21
West Fifty-slxth Street. Paint-
Dl)"othy Sturm and Marie Taylor
° n'tty Parsons Gallery, 15 East
Flfty-scventh Street. Montages
and sculptuvo.
Ena Weill-Schoncman Gallery,
63 East Fifty-seventh Street.
Sculpture.
Grnnp Exhibitions
Deltsch Gallery. 51 East Seventy-
third Street. New French pnnt |
Martrn^'wSdlfleld Gallery, 818
Madison Avenue. Pr;-Colum-
bian Gold and .Tade ,from the
Stendahl Collection.
WEDNESDAY
Paul Gcorgcs-Tlbor de Nagy '
Gallery. 24 East Sixty-seventh
Street. Paintings.
Hans Hofmann-Whitney Muse-
um. 22 West Fifty-fourth Street.
Paintings. Retrospectlve exhi-
L^^Manso-N. Y. U. Gallery 80
Washington Square East. Pamt-
Manzu-World House Galleries. |
Madison Avenue at Seventy-
BBventh Street. Bronzes and
drawlngs. ..^
Luis Qulntanilla-Wildenstein. 19
East Slxty-fourth Street. Paint-
Go"don Russell - .^P^r^^^^J^f''
Brothers, 11 East Fifty-seventh
Street, Paintings and draw-
Sof il'urrutia-West Tenth Sti-eet
Gallery, 191 West Tenth Street.
Paintings.
Group Exhibttionfi
The Archltectural League of New
York. 115 East Fortleth Street.
Seventy-fifth annual exhibition.
The Museum of the City of New
York. Flfth Avenue and 104th
Street Currler & Ives Prints
from the Harry T. Peters col-
lection.
THURSDAY
Ralph Fasanella-James Gallery,
70 East Twelfth Stre. t. Palnt-
John"' Stanley- Fleisch ««". gal-
lery 227 East Ter :h Street.
Paintings, drawlngs, prints.
friday
Rodln and French Sculpture,
?rom the museum's collection^
The Metropolitan Museum of
Art, Flfth Avenue at Elgnty-
secönd S*reet
SATURDAY
■elmagundi Club. 4V Flfth Ave-
»ui. Annual water-color exhi-
bition. , ^„,
Not Previously Announced
The Arts Gallery. 62 West Flfty-
«Ixth Street. Group show.
Jacques Bleny- Raymond and
Raymond, mc ^4 East Flfty-
thlrd Street. Paln..ing8.
Title Restored to Laos Prince
I HANG PRABANG. Laos
aS 20 V/P)-The f tle of Mahr
iCaj (second Wng) of Lac
häs boen restored to rnnci
Photsarath. home from self-im-
pnsed exlle. The prlnco, eldesl
nonhrw of King SisaVang Vong.
;!rt into exile^welvo ycars ago^
rr-tor,»1ion of th. title s
twellas holst cnngPhetjiraih.
chaT\ce8 of becominr Premier
f
Üopartmcnl, ciills attention to
tho piinciples of Zcn Biiddhism
with its discipline freeing the
ailist for a kind of automatic
flnd spontaneous exprcssion.
Chinese painting and Japaneso
pi'ints pi-ovide notable forbcais.
The impact of Japanese prints
nn the imprcssionist painters in
France coincidcd, strangely
cnough, with the decline of the
art in Japan lollowing the death
of Hiroshige in the middle of
the Nineteenth Century. Mech-
anical developments, the intro-
duction of different inks and the
opcning of acquaintance with
tlie westein world were all fac-
turs. But after a lapse of half
a Century there began a levivai
of print-making and today with
all sorts of innovations in meth-
ods the Japanese print industry
is again thriving. There was a
big exhibition of both cid and
new work at the Yale Art
Gallery two or three years ago
and novv the Weyhe Gallery has
brought over a notable show of
work by leading contemporary
Japanese printmakors both in
black-and-white and in color cal-
ligraphy throughout.
Japanese Modern»
Among the cxaniples ' at
Weyhe's are sonie of the figure
subjects by Shiko Munakata to
whoni was awarded the inter-
national print prize at the
Venice Biennale last Summer.
These are crisply modern in
Statement despite a kinship to
certain medieval representations
of Buddhist deities. Others rep-
lesented in the show are Salto,
who does marvelous cats as well
as landscape and still-life; Onchi,
who makes extraordinary use of
butterflies, feathers and various
Symbols in quite abstract or-
ganizations; Sekino, whosecolor-
ful "Girl with Fowl" has a
quaint resemblance to some of
Picasso's paintings; Shinagawa
who employs the recurrent
sword Symbol in abstractly
intcrpreting a Kabuki dancer;
Yamaguchi, who gives a half-
framcd-in Icaf in an abstract
design a sensitive symbolism;
and Hadaki Yoshida who turns
commonplace objects into strik-
ing Symbols in abstract design.
■ Finally, in the week's shows,
theie is first New York ex-
hibition by William Ronald, who
won the Canadian award in the
recent Guggenheim International
Competition. In these paintings
at the Kootz Gallery Ronald
reveals with power and striking
color a personal symbolism car-
ried out through forms and
shapes quite abstractly pre-
sented as in "The Raven" (re-
produced) which might well be
an Interpretation of the ominous
theme of Poe's poem. The work
is non-figurative but convincing
in spirit and mood and stamped
with highly personal purpose.
"Bastilc," for instance, might
well have bccn inspiied by the
painter's sense of confinement in
art and the neccssity of trans-
ccnding lU • •
in the world, are impiisoned in
portfolios, but carefully classi-
fied and cared for, it is true.
There are also many other
valuable treasures not on view
at the Louvre — tapestries, ce-
raniics, ivories, jewels, as well
as antiquities. For example,
though 15,000 pieces are on show
\n the Egyptian section (the
largest after that at the Cairo
niuseum), about 30,000 remain
invisible.
The other Paris museums are
more or less in the same Situa-
tion. At Cluny, the museum of
the Middle Ages, are hidden
away sufficient works of the
Renaissance to fill a whole mu-
seum devoted to the art of that
period. The Guimot museum dis-
plays only a feeble part of its
treasures of Asia and the Orient.
The Museum of Man, the Petit
Palais, the Museum of Populär
Arts and Traditions, the Museum
of Modern Art have all of them
abundant reserves. Why not
Show them, then ?
Before answ^ring this ques-
tion, one may point out that
these reserves have their uses.
The provincial museums fre-
quently dip into them to com-
plete their collections. It is from
the reserves again that paint-
ings and precious objects are
borrowed for the decoration of
the apartments put at the dis-
posal of distinguished guests of
France: sovereigns or foreign
statesmen. Finally, some ex-
hibits, such as drawings, ivories
or tapestries are too fragile to
Support permanent exhibition.
Yct all these reasons cannot
Jeu de
the Im-
tially aristocratic art of Filie
Nadelman occupies a lofty and
expenditure? >
At the present time, the na
tional museums recoive for their jloncly niche in twenticth Century
upkeep, the picsentation and sculpture. Secrecy shrouded his
restoration of their collortionsjlast years but, since his death
pressionist collection, has been|barely 120 million francs ($r>36,-lin 1916, a new gcneration of
closed for the last two and one-'OOOj per annum, and 16 millionjcollectors has become aware of
half years for repairs which give.francs ($4d.800) for evcntuallthe Singular beauty of his work
no sign of approaching comple- purchases. For purchases fromjwhich is, conscquently, fast van
public.
Repairs Urgently Needed
The Museum of the
Paume, which housed
tion. The Museum of Modern
Art being threatened with col-
lapse, urgent work was under-
taken there over a year ago,
then suspended three months
later for lack of credits. Visitors
from abroad this summer will,
therefore, be unable to see the
works created by masters of
modern art during the last fifty
and Orders to living artists, the
State devotes a mere 60 million
francs ($168,000) a year.
The share of the State budget
allotted to Arts and Letters is
less than a tenth of one per
Cent; in other words, for every
ishing into private hands.
For this reason, it is some-
thing of a triumph that the
current exhibition of his sculp-
ture, drawings and prints at the
Hewitt Gallery manages to pre-
sent so many aspects of his
thousand francs ($2.80) spent, esthetic explorations. "Praxitel
the State earmarks one franc
for the museums, the manufac-
years; then there is the Museeitures, instruction in the Fine
des Travaux Publiques (PubliclArts, plastic arts, literature,
Works) which has purely and theatre and music. It may be
simply disappeared to make reckoned that Louis XIV spent a
room for the Conseil de l'Union hundred times more on the arts
Franqaise (French Colonial As- 1 and letters than does the Re-
sembly) ; and also the Musee des j public.
Arts et Traditions Populaires
(Populär Arts and Traditions),
imprisoned for twenty years
past in the cellars of the Palais
de Chaillot. '
Then, in spite of the short-
comings of the State and its
scandalous stinginess, for a hun-
dred years France has imposed
on the World a practically un-
.)>
Evidently it is the republicjcontested artistic supremacy.
that is responsible for this de-jHow can such a paradox be ex-
fault. While in the United States iplained? On reflection, it is
museums for the most part have perhaps this flagrant incapacity
been built with private capitalof the democratic State which
and their collections provided byjroused the great precursors of
individual donations or legacies,;the XIXth Century to action as
in France, as elsewhere in the: well as the innovators of con-
majority of European countriesjtemporary art. For while the
the artistic inhoritance, as well I State has dohe nothing for them, l - ., .-
as the artistic life of the nation,lall that thev have done has been ^aughtily mdividualistic art was
is administered by the public without, and even in spite of the ^^^^^^^ durmg his most produc-
tive years
man" was the appropriate nick-
name given Nadelman in Paris
before 1914 when he fashioned,
in the teeth of advance^ taste
for primitivism and intellectu-
ahty, his unsentimental and
tender heads, in their way as
steeped in classicism, and as
subtly romanticized, as the plays
of Racine.
On anoWier level is the acid
sophistication of his wood figures
where, tongue in cheek, he poked
fun at modish types such as
dancers, acrobats and hostesses.
These dehghtful figures — heroes
and heroines of a new Alexan-
drian Age — are more truly re-
flections of a temperament that
defies Classification. Only the
fact that art historians like
pigeon-holes can account for the
Strange neglect with which his
During the Twenties in Paris,
while the Surrealists were trans-
figuring Freud, Jules Pascin
(1885-1930) was painting por-
traits of friends such as the
pect, Pierre MacOrlan (below,
left), as well as anonymous deni-
zens of the half world. Pascin
is the central figure in the cur-
rent group show at the Pcrls
Gallery which otherwise includes
a miscellaneous selection of
twentieth-century School of Paris
pictures, early and late. Ad-
mirers of Dufy, Braque, Pi-
casso, Rouault, Van Dongen and
Vlaminck will find here their
favorites in good and often un-
familiar form.
The finesse of Pascin's color
— those rosy and i-usty half-
tints that linger slowly drawn
over his figures — corresponds to
the Visual inquisitiveness that
searches out the shady, shadow^y
modeis. Everything is slightly
unsteady. Even the furniture
looks groggy and the bitter-
sweetness of mood tcnds to be
cloying. But the acuity of
draftsmanship is unfaltering.
SANTOMASO
STEFANELLI
POINDEXTER
21 WEST 56
J'J 6-6630
APRIL 22.MAY 1 8 i ««888888»^^
Igracc borgenicht gaUeryl^^^^ GALLERY ■'
pril 22«
May 4
1018 MADISON AVE. • 79 ST.
TH^ artTaTr
has fnUreed \t% quartm
tn nippt the piithusiastiir
fiomand for r/of>c/ C'onti-m-
porary Amrricaii Art at
LOW, LOW PRICES
flül^THEÄRT FAIR
108 W. 56 ST., N. Y. 19
615 COLUMBUS AVE. fat HO ST.)
Op«n Sat. Ä. Sun. ONLY 9 AM. to 9 P.M
Marilyn KLEINMAN
Bernice WINN
Adricnne CAMILLI
MARIE Apr. 23-May if
TAYLO
RECENT SCULPTURE
BETTY PARSONS
GALLERY • 15 E. 57 ST., N. Y. C.
PAINTINGS'marsden
OSVER
GRAND CENTRArM'oDtRNs'HARTLEY
(at79St.) 1018 MADISON AVE.I
— Paintings
BABCOCK GALLERIES
-- zrr^— - 805 MADISON AVE. (at 68 St.)
JOHN
Three American«
powers, that is to say, the State
The great French museums are
State museums.
The State suffers from chronit
State.
Mr. El gar is an Art Critic of
Carrcfour, Paris.
?::::^*Kg?;:;iÄ:::::::::::::
'1
•*Mac Orlan/' by Julos Pascin,
ebony, by Chaim Gross,
Oll exhibition at the Perls Gallery. Kight— '*Prou(I Mother,"
in the one-man show at the Duveen-Graham Gallery,
Veteran Surrealist
Now that Surrealism as a
movement has become a period
piece and that the hterary
Chorus declaiming- its pseudo-
psychoanalytical mumbo jumbo
has died away, we can make
some effort to discern the es-
thetic stature of its leading
Ughts. Any great artist rises
above the style he makes fa-
mous. Just as Seurat is more
than his dots and Mondrian than
his gridirons, so Max Ernst,
showing recont work at the lolas
Gallery, is far more significant
as a painter than as a guide to
Ihe sub - consciou.«^, an "arch-
sorceier" as Andre Breton called
him.
Most of these new pictures,
painted with all the technical in-
ventivcness and cunning- we
might expect, make oblique ref-
9rences to moon - Struck land-
scapes and to the fabulous birds
and animals haunting them. As
Symbols of bemused states of
mind they defy analysis or even
exaot description. But then Ernst
Is a poet and if these paintings-
are comparatively calm in mood,
We still accept his Identification
of one of them as "A Project
for a Monument to W. C. Fields."
The horrcndous visions of thirty
yeais ago have disappeared. The
nightmare has slipped into a
luminous dream and Ernst may
be admired as one of the most
delicate and beguiling cj-aftsman
Chaim Gross' abstract figure
sculptures in stone, wood and
bronze, at Duveen - Graham's,
rise into the air with the natural
force of a geyser. They are
energy ronductors, pulsating
with health and vigor; knob-
bly and bulbous constructions,
usually of more than one figure
(below, right), that could very
well act as caryatids were they
called upon to do so. Both a
carver and a modeler, Gross ex-
cels at the former, concentrating
within smoothly locked together
planes an intensity of feeling
that tends to escape from the
more excitable process of mod-
eUng. •
The impulsiveness that spring?
so variously to the eye in John
Grillo's abstract expressionist
paintings at Bertha Schaefer's
is never too turbuent to dostroy
their over-all unitj'. His work ir
as spontaneous as that of any
of his colleagues but he seems
to have an assurance and power
to control bru.sh gestures that
many of them lack. In other
words, his painterly instinct is
a formal one and the vitality of
his pictures does not fritter away|
in explorations of the dccorativc
possibilities of paint. Their air
of purposeful energy rescucr
theni from chaos and meander-
Ing. And color is sumptuous.
Affectionate and straightfor-
ward tributes to familiär scene;
are paid in John Whorf's expert
vvater-colors at the Milch Gal-
Icries. Whorf excels in catching
lature's more fugitive manifes-
tations — the glitter of moonlight
on waves; the mist rising from
the ground during a snowstorm:
and the curious stiffening ol
light over a countrysidc as
afternoon slidcs impcrceptibly
into eveninp:. Lovers of New
England's landsrape and archi-
i amencan
f abstract
artists
THE CONTEMPORARIES
992 MADISON AVE. AT 77»h ST.
M
sculpturt by
\b
Atli Schoneman
63 East 57
WA NT ED
paintingf • sculpture
for summer and fall exhibition» • all media
LYNN KOTTLER GALLERIES
3 EAST 65 ST., N. Y.
iir-conditioned REgent 4-3491
"■"RECENT WATERCOLORS'
ELIOT
O'HARA
APRIL 23- MAY A
Grand Central Art Galleries, Inc.
.^15 Vandcrbilt Av€., N. Y. C..^
JOHN
HELIKER
Paintings • Apr. 22-May I I
KRAUSHAAR GALLERiES
1055 MADISON AVE. (Entrance on 80th St.)
Recent Paintings
JACQUES BLENY
through May 2nd
RAYMOND & RAYMOND
54 East 53rd Street
BRZOSTOSKI
PAINTINGS ' (0 M,,Y 9th
AliriVIV ^AlJJJtV
85 / Lexington Ävc. (64th Si.)
32 East 51sf Street
SPRING EXHIBITION
DAVIS • O'KEEFFE • SHAHN
SHEELER • WEBER • ZORACH
FERNANDO
Apr. 22-May 4
PeUJc Galerie -1 29 W. 56
Opcning Apr. 2? "■"■"■■^■^
SHOLAM
FARBER
New Paintings
HARRY SALPETER GALLERY
«.«««^ 42 EAST 57 ST.
A NEW CONCEPT
THE CHURCHILL GALLERY
arthurTchwieder
AT
CHURCHiLL'S RESTAURANT 139 BWAY
EAN
Thru May 4
Ol his eia. Nor, as his fantastidtccture will be solaccd here.
APRIL
17-27
modern
Japanese
woodcuts
WlYHl ^S^Lexington, near Bist
Hansa Gallery 21O Central Park Soiül»
For Addifional Art
Advcrtising See Page 8
z'
Fifty-fiftli ycar
of continiiwLi^ pul)licalion
xMay 1957 Volume 56. Niimbcr 3
I
ART
IVEWS
•üon ..(form /-■•',, „5 in.-J-
'1;
a-i
ivitin" toll"'
II.D.II.
^ <
:Li
V
E r'^EW YORK »TIMES. SATURPAY. MAY 4.
19S
•e are two a^ects
Erna Woiirs sculpture, a gro
of which is displayed at the -1
Sclioneman Gallery, 63 East
Fifty-seventh Street.
First are her portrait busts,
bold and precise in execution
and emphasizing the individual
character of each sitter. Then
comes her freely imaginative
work, most of which is devo-
tional in character and sym-
bolizes episodes from the Old
Testament.
There is a sense of strain
to this work, which owes its
emphatic semi - primitivism.
to Epstein. But as an imagina-
tive style, her manner of car-
ving is appropriate to the sub-
jects of streng emotional ap-
peal ta which she is drawn.
1 n y-t
>
stf^
x^
SCHONEMAN GALLERIES
NEW YORK CITY
No. I rii:i{i;(>'i
pKKi \(;k and acknowlkdcmknt
W illi IVw ('\('<'|)li()Ms. all painlin^s cxhiMlcd licrc liavr \)vv\\ sold l)y
this (iallciA (iurin^u ihr la^l ycars. Wc ar(* \c\'\ pioiid lo have placed surli
(
mc wo
iks ol all in llic colIcclioMs oi oiir clicnl:
11
hihil
IC pnrnaiv iiiUmiIiom ol Uns (^xhihilioii is lo pay Irihulc lo nuc ol lh(
f Ih
üianls o
i Y
vr\u
\] all in ihis ccnlurv, — an artisl wliosc cn^alivc* *i;('nius i:
rcvcrcd l>\ all oiicc loiichcd l»\ thc incomparahic power and sur^iiijzi heauly
ihal
s<'r\('s
[is hiiluark ot a II liis crcalions,
W(» wisli lo acknow Icd^c oiir ^raldul apprcciation lo llic rollovviii^
Iciidcrs. willioul whosc Indp and ^cncrous cooptMalion this cxhihilion would
not ha\(* hccn possiMc.
M
(*ssrs,
Jul
lan aiu
I j
can
Ahcihacli
[IIH
Mr. William W. Crocker
Mr. and Mrs. Jaincs Dehncgc
Mr. john Kis(Mil)(Mss
Mr,
Mr,
Mr
Mr
Mr
I Mrs. I{()h(Ml K. KisiuM-
I Mrs. L. Jackson
I Mrs. A. A. Juvilcr
nd Mrs. Jaincs W. Johnson
aiK
aiK
aiK
I Mrs. Viclor Kiain
Mr. Sidncy l\ Lipkins
Mrs. Cläre lloothc \ Ain
,nd Mrs. (;. K. MrCall
I Mrs. Donald McKcnna
I Mrs. John Morel
aiK
Dr.
M r
M r
Mr. J. Saimiels
[\\n
Mr.
Mr.
And
aiH
[in(
I Mrs. Norhcrt Scliinirnel
] Mrs. FredtMick Server
s('V(*ra
1 oll
KM* CO
llcctors who prcl'er
lo rcinain anonyniou
sciioiNKMAN (;aiji:hiks
No. 16 L\ \'\sK Dl«: F'j.Fn;
/// /.s niiirc <^()(Uiki' lliaii .scieiue.
Science discorers: hui ort creates.'
OIMK
l{()uaull. llic cicalor. staiicU (iiil as oiir ol' ihc "iifatcsl visionaiieis of modern
tinu's. l'osscssiii«; tlic soiiiidcsl <ial'lsniaii>lii|» in iIk- Inidilional soiisc and a tlioroiifili
inidcrslandinji of convcnlional lc(lMii(|n<'s. liis aitislic rvoliition towards final, per-
sonal expression eniei<;e(l ihroii-ili a lon-i pciiod of oltscnrily. condenined l)y friends
and l'ellow painteis. Iicld in Itondaiie liy llie Inrlxileiit seareli for iiltiniale eom-
nuniicalion — at last, willi sinjiular elarily.
liorn in Kwl in l'aii>. (ieoij^es Uoiiaiilt at llie aj^e of foiirteen l.eeaine ap|)ren-
tice to a stained-jilass inaker. Tliere. aecDidin«; to liis own slalenient, liis task ol
lielpin-i Oll tlie resloration of incdieval uindows iiispiied liini with an endniinf;;
passion for >tain<-d jilass. W lietlier tliis. liis firsl trade. Iiad any serions inflnenee
Oll liis later work. reinains prol)leii.ali<-. Aliending eveniiifi; classes al tlie Kcole
Nalionale des All I)ecoratif>, lie later (>nroll«>d in tlie P:e<)le des Ueaiix Arts. wliere
lie lieeanie Gustave Morean's favorile piipil. Alter tlie laller's deatli in 1898, Roiiaull
was iiaiiie<l diiv.tor of llie Mnsee Oiislave Moreau, a posl lie retaiiis to tliis very
day. Moreairs friendsliip and initial eiK-onragernent heeanie a very imporlaiil
laelor in Koiia.ilt-s lue. for lien- li<- liad foimd a man of j^reat eiilüire, witli
extraordiiiarv eoiieepli«»' «'l' "'l'»" "«''■•l '•" "'''n»"'' i"^pi''"i"" tl'^'" t'"" i»'«»v'«l«'«l
l.v tlie tan-ild.-.- Afl<-r eoniplelin- liis firsl painlinjis. wliieli stroiifily redeeled Ins
lut.ns eoiiN^i-ntioiial stvie aii.l exeessively literary preoee.ipalion.- Houault l.eeame
,„„,, ,nd nioir auaie of liis ouii inner erealive nee.is. wliiel. sliarply rejeeled most
reeognized s.Ii.m.Is of arlislie soiil-seareliinji, kiumii lo alllrue ereators.
The i.nniensitv of i{oua..irs Ir.M- natinv. liis tormenl in ihe fa.e of mjnstiees,
„•voll a..ainsl lli,- alniost inevilal.le. liis reeling <lisgusl of atro.'il.es falliiif^ hke
l.lous lipon llie head of man. are iinniislakal.ly reveale.l in liis grotes.p.ely fas-
..inaliii, niasterpieees of prostiliites. <lowns. pierrols. j„dj;es. 1 liere is a stark-
...ked violeme and inleiis<> relndlion in every stiokc- .i llie l.rnsli, a. llie l.eslialily
and stiipi.li.v ..f a livpoerili.al. loveless w<,rld f.ill of n.oral nnsery and physica
....liness fi.ids iiltiinaK. expression on llie faces of liis sul,e<as, ll.al dark zones
delin.-ate .ruellv will, llieir proiiouneed Ma.k liiies, ae-enliialnig Uie posil.ve.
ll:!ll>('('ll(
Aiid ihcii. uilh l(ir\ i:ii(l aii.-cr -\)rin — \\\> Iciocioii^ iiii;i:j(- -low -iMv\
i\ a -Icadilv incrcasiiiL' xMi^r of (•;)m|)a»i()ii. \- lii- ivli-ioii- l'jitl
l(ul
IxM'aiiK^ -troiiiicr. |)la.>lic (^pro-ion dcxclopcd a jMiivr. 1 ivcr ii r-c Iowa t;l Ili i tiionii
('X|)an>i()ii. I'inallx. — lluMc \\a> a mk
i-«.jii«' ol -II llciiiii: and ihmcc. (jI inhiiil«
nudaiichoK and die inner s(M'(Mnl\ dial a!»>()liil<^ -pinhia lil\ hiiiiu-« ahoiil
\\lial('\(a- die -iihjccl inallcf. lo die -cn-iliv c ex c die iiilcrioi a-pccN ol \i-ildr
j-('alili('> aic it'xcalcd widi poclic dviianuMn. To (icoriKv- lioiiaiill. a i! I- a d(di\rr-
aiicc^ ('\(Mi in die nnd.-l ol" darknc». \> \w x) rhxjiiciil l\ cnj )ic-^-('d il liitiiH'll':
'The painlcr willi a licniiinc Ionc (d lii> aii i- a kin- in lii- o\\ ii i i;:li( liow-
('\(M' dinnniitixc hi> kiiiL-doin. liowcNcr -inaN hi- owii -laliitc. ^oii iiocd iicxcr alxli-
catc llic ilu'oiic lli.il \()ii won willioiil xiohMicc. ;iii<l von will lc;i\c n li,i|>|iii-i iiiciikuv
tl
lan nian\ a ( lowc
Icd inonarcli. lor pcoplc w
iN uiidri-kind \ Oll r w oi k and Ire! il-
ni('s^a<i(' — lor aM liinc. pcrlia}).-.
I^)!' -lieh aiii>l> il i> nol lorcc hiil lo\r. llial nik'- llio \\(nl(l
,1/. l\'jt'(Li
No. 32 HiiiiacAi. Lam
)sc:ape
J\o. 30 l,K I.OtClIIN — ViEUX (>n?(,)l K Foi!\l\
10
C A TALOC; Ul
I. IMKUIJOT ( 1911 )
1
I
r's mcfics. oval, on porrciani
■li
Rrprnducrd: KoLAll/r !)> Vcnluri, plalc #.'U)
lioiAl LT l)y J. '\\ Sohy, pa^c ()2
Kxhihitcd: Musniin ol' Modrni ArU N. Y., 195:i
Los Alleles Coiiiity Miiseiini, 1 95.*i
S
k u
in
F
raiu'isco
Mus(Mif]i of Art, 1911
Boston Institute of ModtMii Art. 1941
Lent hy Mr. and Mrs. NofIktI Scliimim'l
2. NOTKK DAMK DKS CIIAMPS
29V4 l>y 21>A iiichcs.
Lrnf hy Mr. and Mrs. Janics Dfltju-^f
:\, NIDK
:^2 l)v 21 uM'hv
rproi
lucrd: Hol \i i/r 1)V V(Miliiri, platc #79
Kxhihitrd
M
So
usciirn ()
r
Odern
F
\\\ r rancisco
M
Art. N. Y.
f An
ustuiin o
riiillips Memorial Miis(Minu Wasliiii<!,ton. I). (1.
IJosloii Institute of Modern Art
Lent hy Mr. and Mrs. A. A. Juvdrr
4. TKTK DK CLOWN ( 1930)
I 1.1.. i)v 12 iiichrs ( «jjouaclie )
1
oiincM
Iv Colleetion J JJoinfonl. London
Kxhihited: Lusn Kxiiiiution ov Limnc; Aim\ DuLlin. 1911
(]()!.!. KCTOlfs CllOICF
#28
IV, Gimpel Fils, London, 1954
CIUCIFIXION
2:r^ l>v 1
< ) '
incrK's
li
Lent Anonytnously
6. CLOWN AND DANCKK
< >
Froni the series Lk (]iK(.)liK DI
1;Et()1LH Fu.antf
Lent hy Mr. aiu
1 Mrs. Norbert Schiiiiinel
MADONNA AND CIIILD
lOVo l)v U)' j iiiclics.
F
rorn
the series Li: Cii^gt k d»'
l/F/rOIl^i: FlI.ANTK
Lent hy Mrs. Cläre \^nn[hr Liiec
8. IHJITS DK JACOl?
12-^/l by l^'Yi inches.
Rrnroducrd: Sri:Li-A VKSPKirnNA p
lale
#«
Lent
hv M
an<
1 M
rs.
Victor Kiain
11
<>. CLAIIJ DK 1,1 NK
1.'^ I»\ U> iiiclics.
Rrpioilmcil: Stkij.a Vksi»kim'i\ \. philr #12
Lf'nl hy Mr. and Mrs. NorlxTt Scirmimcl
10. LK Kl crriF
IT) \)\ \^) inrlic
R('\)ro(lui'Cil: Sri'j.LA Vksi>ki{ ri\ \, plalc #1 I
Lail hy Mr. Si(liir\ V. Lipkif
IS
II. CUKI'l'SCri.K
11 ' ^. \)\ 16' .j inchcs.
Hrpnxlucrd: Stki.la Vi':sn;i:'n\ \. plalc #M)
Lcnt hy Mr. and Mrs. l. Scr^rr
12. AlTOMNK
11 VI» l>N "^j iiiclirs.
Rcproducrd: S'l'Kl.LA Vkspki{ TIN \. platt» #.")
Ar/// hy Mi. and Mrs. Norhcrt SchinitncI
i;^. miJLICAL LANDSCAPE
l.'^ I)\ \() inchrs.
11. FLOWKHS
22>4 U \WY\ inclu
Lciil hy Mr. and Mrs. Kohcrt K. Kisncr
15. FLOWERS
23';, ])> V) inche
Lvjit i)y Mr. and Mrs. Jamt's W. Johnson
16. L\ VASK 1)F FLKIRS
22» o h\ UP.. inches.
Ia'hI hy Mr. and Mrs. Norbert Scliiinrncl
17. l'iKRKK/rrK
.*^1V4 l>\ 2.*^ inclics.
Ex-CoUcction: A. VoliarcL [*ari;
Lcnt hy Dr. and Mrs. (;. IL McCall
1«. FEM ALK CLOWN
24'Xi !)> l<)'^i inrlics.
Lcnt hy Mr. and Mrs. Donald McKcnna
19. LE FAL1U)UK(;
2.'^ Vi l>\ 1" inclics.
Lvnl hy Mr. and Mrs. John M(»rrl
20. CIIKIST AN!) TWO DISCIFLKS
2"VL* l^y 21 Lü inclirj?.
Rcprodncrd: RoiMi/r liy J. Marita in
l\(H \i i/r
AI
)rains l*ul)licali
OllS
Kx-('.idl('('ti()tis: A. VollarcL Pari
De (iailia, Paris
Lvjü hy Messrs. Julian and Jean Aht'rhadi
21. CHRIST AND A DLSCIPLK
22'V, bv 171
y\ ny i < yo nicncs
li
J.rtit AnonyinousJy
12
22. I)()l ULK CLOWN
17 l)\ 1'^ inchrs.
2.5. LOKTHArr OK A (MHI
Lcnl hy Mr. J. Samuel}
IM. IIKAI) OK A CLOWN
I2-1 l)\ l()>o inchcs.
Y
oniK
riv ('ollcM'lioii Dr. J. ScIioiuMiiaii
Lcnt hy Mr. John KiscMilxMss
23. DIO
rnroi
7
lucnl: Mastkkimkcks ok FiiKNcii Pai\tin(;s hy J. Lassaigi
^.le,
Skira. lMat(^ #1
G\iJj':in OK Airr Skiuks, The Flyperioii Press. Color
Plate #7
Exhihitrd: WVI llieiiiiah^ Intenialional de TArt, Veniee, 1948
lA'Tit hy Mr. aiul Mrs. Norbert Srhimniel
2(). CIKCl s (;iKi
2.") I>v lö iii(li(*s
Lent Anonymously
L i
VIKWWVTVK
22V4 hy lö iiichrs.
Ex-(A)Uccti(ms: A. Vollard, Paris
!\1. P'ontanes, l*aris
Olaniiier, Paris
2a. I5Ip>li(:ap landscapk
IIIU I»\ 2\\\ i'^<"^
les.
Lvjit hy Mr. and Mrs. L. Jackso
n
2<). PKASANT GIRL
2:Wi hv löVi ''i<*^<^
M).
LK LOl ClIIN - VIEIJX CIKQLE FOKAIN
l.'r^/, hv l()l^ iiH'hos.
Ex-CoUertions: A. Volhud, Paris
GrifTin, Paris
Lent Anonymously
;U. TWO CLOWNS
20 l)v 10'- iiK-lios.
.{2. lUlJMCAP LANDSCAPE
19 Vi! hy 25 Vi iiiches.
/.fv// Anonymously
Lent Anonymously
X\, AI{AP> Kl NC
11 «Vj hv 1 iVi! inchrs.
V
ornKM-ly A. Vollard, l'ans
A Jen oj the fmintini^s are for sale
Prices riuoted on rr(juesl.
13
\(). 13 I)ip.i.i( AI. T.\M)m:aim-:
\o. 27 PlERRETTt:
15
SCHONEMAN GALLERIES, Inc.
63 Kast 57tli Sivcvi
N('u York Cilv
n.aza r^-MYIi)
iUriwrru l*ark \ Madison \\(\l
We nuiintiiiii at all linics a larj^e stock of
outstandifi^ FnMicIi Paiiiliiijrs of ihr
\^)[U and 2()lli ('('nliiri(*s.
fiOMBOIS
BoNNAHl)
BOUDIN
BuAgiiK
Chagall
COKOT
Degas
Dkhain
d'espagnat
DUFY
Fantin - Latoi k
FüHAlN
Gauguin
guillaumin
Laukencin
Toi LousE - Faitkec
FuiSIvAU
MaKI^I KT
Maiissk
Mei/i\(;ki{
MoNKT
OKISO'I'
Picasso
PlSSAlUiO
Henoiij
K(M XULT
Si(;na(:
SiSLKY
Uthim.o
Vlaminck
Etc., etc.
THE NEW YORK TIMES, SATURDAY, MAY 4, 1957.
43
Jrmit
head
; ex-
the
ction
th a
; im«
visi-
lerity
icenst
)'Con-
Lit tha
.ckets.
m for
;, Inc.,
;ks to
•tment
plain-
hreat«
'» dur«
ar will
license
brac-
her
Her-
in
STRIRES CÜRTAIL
CHRYSLER OUTPUT
Series of Wildcat Walkouts
Affect 40,000 in 12 Plants
in the Detroit Area
$500 Jottrnalism Award
Is Won by Tennessean
By DÄMON STETSON
Special to The New York Time«.
DETROIT, May 3— Auto pro-
duction of the Chrysler Corpora-
tion was sharply curtailed today
by a wave of wildcat strikes.
Company officials feared the
mushrooming dispute might close
down all plants at a time when
heavy May production schedules
have been established to meet
the demands for Chrysler cars.
A spokesman for Local 212 of
the United Automobile Workers
Said, however, that all members
had been ordered to report for
work on Monday. The local has
scheduled a formal strike vote
for Wednesday.
The Company reported that
25,000 workers were made idle
on the day shift today and 15,-
500 on the afternoon shift as a
result of the walkouts. A total
of twelve plants was affected,
some partially and some com-
pletely.
Tornorrow's Operations at the
Chrysler Division, previously
planned, have been called off, the
Company said.
Track Drivers Protest
Today's trouble began when
160 truck drivcrs, who transport
body stampings between plants,
failed to report for work. They
said they were protesting the
dismissal of a union committee-
man the previous day.
Later, the Company reported
being forced to send home thou-
sands of workers in key plants,
including the big Mack plant
that makes Plymouth bodies and
the Plymouth assembly plant,
both in Detroit, and the Dodge
main plant in Hamtramck.
Behind today's development
there appeared to be two basic
issues. One was the insistence
of the leadership of Local 212 on
transfer agreements for Office
and engineering workers to the
Company' s new stamping plant
at Twinsburg, Ohio. The second
was the company's insistence on
its right to move equipment and
to direct employes to do it with-
out union interference.
Union's Stand Cited
Fat Caruso, president of Local
212 representing the Chrysler
workers, said that the union
would not permit the transfer of
tools, dies and fixtures from
Detroit to Twinsburg until a
satisfactory agreement covering
the Office and engineering work-
ers had been reached.
The Company said that it did
not foresee any displacement of
salaried office and engineering
workers in Detroit as a result of
establishment of the Twinsburg
plant. But the local union is in-
sisting on an agreement cover-
ing this eventuality.
A transfer arrangement, cov-
ering production workers here,
was agreed upon bv Chrysler
FORD IS PLANNING
RADIO CAMPAM
Company Weighs $3,000,000
Expenditure in Fall Aimed
at Car-Radio Audiences
Art: Contrasts in Mood ON TELEVISION
Channtl 3
Chann«! 4
Channel 5
WCßS TV
WRCA-TV
WABD
Chann«! 7
Chonn«! 9
Channel 11
WABCTV
WOR-TV
WPIX
Full-Blooded Paintings by Annie Lenney
and Royer's Ghostly Works on View
Herbert G. Stein
The third Borden Graduate
Award in Journalisni has been
won by Herbert G. Stein of
Oak Ridge, Tenn., a student
at the Columbia University
School of Journalism. The an-
nouncement was made yester-
day by Edward W. Barrett,
dean of the school.
The 29-year-old Student,
who is the Maxwell M. Geffen
Scholar at the school, received
the $500 award from the Bor-
den Company Foundation, Inc.
The award is given to a Stu-
dent "deemed most meritorious
on the basis of high academic
Standing and professional
achievement."
Mr. Stein was graduated
from Pennsylvania State Uni-
versity in 1951. He worked on
The Oak Ridger for f ive years
before coming to Columbia.
PRACTICÄL NURSES
BACK SCHOOL PLAN
Spocial to The New York Times,
ATLANTIC CITY, May 3 —
The National Association for
Practical Nurse Education voted
unanimously today to strength-
en its program of instructor re-
cruitment for practical nursing
schools. The action was taken
at the closing session of the
group's annual Convention here.
Miss Hilda M. Torrop, exec-
utive director, said that a fund-
raising campaign, to be under-
taken jointly with Purdue
University would begin this
summer. The association and the
university will seek $500,000 for
a Joint five-year eduction pro-
gram, scheduled to Start in
1958.
The program, announced ear-
lier this week, has been devised
to meet the acute shortage of
practical nurse instructors and
school administrators. The
shortage was accentuated by
creased student enroUment
caused by Federal aid to practi-
By RICHARD F. SHEPARD
The Ford Motor Company is
studying the best way to spend
about $3,000,000 on radio adver
tising for a year starting in
autumn. The radio networks
are up in the air wondering
where the sum, the largest to be
lavished on their medium in
many years, will land.
The automobile Company and
its advertising agency, J. Wal-
ter Thompson, are particularly
interested in reaching the car-
radio public, which tunes in most
heavily during peak traffic
hours in the morning and eve-
ning on weekdays.
The Columbia Broadcasting
System radio network has
broached a plan that would offer
a number of big names. The
transaction would include a
morning musical show starring
Rosemary Clooney and Bing
Crosby; a five-minute morning
newscast; a variety musical
show with Arthur Godfrey from
5 to 5:30 P. M.; news commen-
tary by Edward R. Murrow at
7:30 P. M., and six five-minute
week - end broadcasts by Mr.
Crosby and Miss Clooney.
The Mutual Broadcasting Sys-
tem has presented a package
that would embrace a morning
musical show with Raymond
Scott and Dorothy Collins; a
morning newscast; a 5 P. M.
half-hour adventure drama with
the orchestra leader and singer
as hosts; an evening newscast;
and a ninety - minute variety
show starring Mr. Scott and
Miss Collins on Sundays and
featuring guest stars.
C. B. S. has not yet signed
contracts with the talent that
would be the mainstay of its
project. In addition, it is not
able to guarantee the Coopera-
tion of its affiliated radio out-
lets in the 5 to 5:30 o'clock time
period, which they are not re-
quired to devote to network
programs.
A C. B. S. official said, how-
ever, that **we think our sta-
tions would clear for us" and
referred to a history of good
working relationships in the
past. He stressed that matters
were still in the negotiation
State and that "we don't know
if we'll get an order" or what
sort of a package an order
would result in.
Under its contract with its
affiliat:«» Mutual can assure
füll network coverage at 5 P. M.
In addition, it has an agree-
ment with Mr. Scott and Miss
Collins to broadcast should the
transaction be completed.
LIFE looks good to Annie
Lenney, whose fuU-blooded
picturesque landscape and fig-
ure oils are at the Eggleston
Gallery, 969 Madison Avenue.
Up hill and down dale in
New England, where happy
children gambol and where
fruit trees explode into fire-
works of pink and white blos-
soms, she pursues Visual joys
with happy abandon. And her
deftness with the brush is well
able to communicate these
happy experiences.
•
Few greater contrasts in
mood can exist between the
pictures referred to above and
those by the French contem-
porary Royer at the Zodiac
Gallery, 123 East Fifty-fifth
Street. A ghostly submarine
glow emerges from these flow-
ers and vague landscapes
weakly suggesting Rouault.
Their spirits are low and not
to be raised by incidental pas-
sages of rieh, luminous color.
Surrealist overtones pervade
Dorothy Hood's immensely re-
fined black-and-white draw-
ings at Duveen-Graham's, 1014
Madison Avenue. She excels
in mastering linear complexi-
ties and indulges this ability to
the füll in tangled draperies
of line that wrap and unwrap
disquieting semi-abstract Im-
ages.
Work by two woman sculp-
tors of widely different ap-
proaches to style and subject
matter is on view at two gal-
Marianne Gold, whose figure
statuettes are at Wildenstein's,
19 East Sixty-fourth Street, is
a sensitive artist in the tradi-
tion of Maillol with whom she
studied in Paris during the
Nineteen Thirties. There is
nothing markedly original
about her small terra cottas
but they show signs of such
affectionate Observation that
they are bound to give pleas-
ure of a meditative kind.
m
There are two aspects to
Erna Weill's sculpture, a group
of which is displayed at the
Schoneman Gallery, 63 East
Fifty-seventh Street.
First are her portrait busts,
bold and precise in execution
and emphasizing the individual
character of each sitter. Then
comes her freely imaginative
work, most of which is devo-
tlonal in character and sym-
bolizes episodes from the Old
Testament.
There is a sense of strain
to this work, which owes its
emphatic semi - primitivism.
to Epstein. But as an imagina-
tive style, her manner of car-
ving is appropriate to the sub-
jects of streng emotional ap-
peal to which she is drawn.
S. P.
Channel 13 WATV
SATURDAY, MAY 4, 1957
For its first anniversary pro-
tirrU^ rk,-w/^r% -MinH" WlL
May Exhibition
FOR the May exhibition at
the City Center Gallery,
131 West Fifty-fifth Street,
fifty-two painters were select-
ed by Herbert Katzman and
Louise Bouche, Jurors.
Representational painters
dominate the show, Among
them, Lucy Eliot and Frank
H. Mason show poetic inter-
pretations of wooded land-
scape; Beulah Basine and Ar-
line Levin-E]pstein show still-
lifes; Robert Finnigan and G.
Hunter Jones show, repec-
tively, an interpretive Por-
trait and a figure group remi-
niscent of the Rubens style.
At the Barbizon Hotel, Lex-
ington Avenue and Sixty-third
Street, Denyse Claude, a
French painter, shows tradi-
tional landscape and still-life
paintings. D. A.
8-9 A. M.— Shariland: General entertainment for
children. With Shari Lewis— (4).
8-10:30 A. M.-Cartoon Festival— (7).
8:80-9 A. M.-Hickory Diokory Dock: "Music
Again," with Eleanor 01ha-(2).
9-9:30 A. M.-On the Carousel: With Paul Tripp,
host-(2).
9-10 A. M.— Children's Theatre: Film variety, with
Ray Forrest, host— (4).
9:30-10 A. M.— Captain Kangaroo adventures, with
Bob Keeshan— (2).
10-10:30 A. M.— Howdy Doody Show: Doodyville
gets a soda fountain— (4).
10:30-11 A. 31.— Miffhty Mouse— (2).
11-11:30 A. M.— Susanns Show for children and
adults (Premiere)— (2).
1:30-2— Right New: "What 's Wrong With New
York City's Junior Hi.^h Schools?"-Mrs.
Charles Schlaifer, Maxwell F. Littwin, John
Towers, Martin Lobenthai, guests— (2).
1:30-2— Educational Series: "Mathematics," with
Dr. Ernest Nagel, Professor of Philosophy at
Columbia University, host— (4).
1:30-2— Junior Town Meeting: "Do Governments—
Local, State and Federal-Spend Too Much?"
—High School students, guests— (13).
1:55— Baseball: Brooklyn Dodgers vs. St. Louis
Cardinais— (9) ; New York Giants vs. Cincin-
nati Redlegs— (11).
2-2:30— Educational Series: American Government
— "Bureaucracy"— John W. Maey Jr., guest of
Professor Schattschneider— (4).
2-2:80— Our Nation'» Roots: "To Link a Nation,"
about Immigrant labor- (2).
2:30-3— Congressional Close-Up: Senator Irving M.
Ives and Senator Clifford P. Case, from New
York-(2).
5-5:15— Kentucky Derby Preview— (2).
5:15-5:45— The Kentucky Derby, from Churchill
Downs, Louisville— (2).
7-7:30— Rosemary Clooney Show: With Judy
Canova, gfuest— (4).
7:30-8— The Buccaneers: "Mistress Higgins* Treas-
ure," with Robert Shaw and Adrienne Corri
-(2).
7:30-8— Rock 'n* Roll Revue: Alan Freed. hostf
Guy Mitchell, June Valli, Sal Minco, Martha
Carson, others, guests--(7).
8-9-Jackie Gleason Show: With Art Carney,
Audrey Meadows, Joyce Randolph and th«
June Taylor Dancers— (2).
8-9— Perry Como Show: With Patti Page, Gene
Autry, Buddy Hackett, guests on variety pro-
gram (Color)— (4).
9-10«Caesar's Hour: Comedy and variety, with
Sid Caesar, Janet Blair, Carl Reiner. Howard
Morris, Shirl Conwav and Pat Carroll— (4).
9-10— Lawrence Welk Show: Dance music front
Hollywood— (7).
10-10:30— Gunsmoke: Western series, with Jame«
Arness as Marshai Dillon; Amanda Blake,
Dennis Weaver and Milburn Stone in support*
ins: roles— (2).
10-10:30— George Gobel Comedy: With Erin
O'Brien, Pat Buttram. guests— (4).
10-10:30— Ozark Jubilee: Country music, with Red
Foley, host— (7).
10— Prcmiftro Performance— Film : "The Ghost
and Mrs. Muir," with Rex Harrison, Gena
Tierney, George Sanders. Young widow ha«
spirited courtship— (11).
10:30-11— Two for the Money: Quiz, with Sam
Levenson, host— (2).
10:30-11— Your Hit Parade: With Snooky Lanson,
Dorothy Collings, Gisele MacKenzie and Rus«
onii A.rnfis— (4)
10:30— East- West Bowling (Film)-(9).
Feature Film»
5-6:li>-Movie: "No Hands on the Clock." with
Rod Cameron, ehester Morris in private de«
tective story— (4).
10— Premiere Performance— Film : "The Ghost and
Mrs. Muir," with Rex Harrison, Gene Tierney,
George Sanders. Story of a young widow who
has spirited courtship— (11).
11:15-1 :30-The Late Show-Fllm: "Mr. Skeffing-
ton," with Bette Davis, Claude Rains. Drama
of a ruthless woman who dominates her kindly
husband— (2).
12— Movie: "Dark Mountain," murder mystery,
With Robert Lowery and others— (4).
(JrDENOTES PROGRAMS DESCRIBED ABOVE; (C) DENOTES COLOR)
DAYTIIME
BUFFALO ART DISPLAY
40 Gift Paintings Will Go on
View at Albright Gallery
BUFFALO, May 3 (UP)— The
first showing of forty gift paint-
ings and sculptures, said to form
an outstanding contemporary
collection, was announced today
by Gordon M. Smith, Albright
Art Gallery director.
The recently-contributed works
will be displayed for the first
time as a group in an exhibition
titled "Contemporary Art — Ac-
quisitions 1954-57." It will open
at the Albright on May 15. Out-
standing works in th-» coUection
include paintings by Willem De
Kooning, Jackson Pollock, Rob-
ert Mothei-well, Franz Klinc and
PhiUp Guston.
Thirty of the new acquisitions
CITY ART PUPILS HAILED
Theip Work New on Display
at Metropolitan Museum
In a Salute to the talented art
pupils of the city's High School
of Music and Art, the Metropoli-
tan Museum of Art is opening
a show of their work today. It
is a "coming-of-age" party, cele-
brating the twenty-first birthday
of the school as well as the *'ex-
cellent work" of its pupils.
"If we're encouraging quality
at the museum, we should en-
courage the work of these young
people," James J. Rorimer, direc-
tor of the Metropolitan, ob-
served. Every style is apparent
in the rieh selection. Robert
3everly Haie, the museum's as-
.^■ociate curator of American
')aintings and sculpture. called
7:00-(2) Film: Man of Confllct
With Edward Arnold
(4) Modern Farmer
8:00-(2) News and Weather
ifi^) Shariland
*(?) Cartoon Festival
8:15— (2) Laurel and Hardy
8:30*(2) Hickory Dickory Dock
9:00*(2) On the Carousel
*(4) Children's Theatre
(13) Roman Marynovvych
9:30^(2) Captain Kangaroo
(13) Fiesta Musical
10:00*(4) Howdy Doody
(5) Leon Errol Comedies
10:15-(9) The Living Word
10:30-^(2) Mighty Mouse
(4) The Gumby Show
(5) Renfrew of Mounted
(7) Film: Tomorrow Is
Forever
(9) Cartoon Time
(13) Le Prequenta Musicale
11:00*(2) Susan's Show
(4) Fury
(5) Gene Autry Show
(9) Cartoon Time
(13) Perucho Show
11:30— (2) Tale of Texas Rangers
(4) Captain Gallant
(5) Liberace Show
(13) Echocs of Poland
12:00-{2) The Big Top
(4) True Story
(5) Cavalcade of Progress
(7) The Bontempis
(9) Million Dollar MovIe
(13) Padrc Adolfo
J2:15-(ll) Six-Gun Playhouse
(13) Italian Film
12:30-(4) Detective's Diary
(5) Films
l:00-(2) The Lone Ranger
(4) Home Gardener and
Handyman
(7) Studio 7
1:15-(11) Off to Adventure
1:30*(2) Right Mow
(4) Educational Series
(7) Film: AcLion in Arabia,
With George Sanders
(9) H^ppy Fclton
(11) Baseball Hall of Fame
-^(13) Junior Town Meeting
1:40— (U) Jimmy Powers
1:55* (9) Baseball
*(11) Baseball
2:00*(2) Our Nation's Roots
tI^(4) Educational Series
(13) Requestfuüy Yours
2:30^(2) Congressional Close-Up
(4) Film: Pick Up Your
Troubles, With Laurel
and Hardy
(13) All-Star Movie
3:00— (2) Film: Africa Screams,
With Abbott and Costello
(7) Film: Lulu Belle, With
Dorothy Lamour
3.30-(4) Film
4:00-(2) Film: Coast Guard,
With Ranaolph Scott
(4) Library Lions— Film
(13) Fun Tim?
4:30-(7) Cartoon Club
(13) Junior Frolics
5:00^(2) Kentucky Derby Preview
■^(4) Movie
(5) Film
(7) Hopalong Cassidy
(9) Million Dollar Movie
(11) Popeye the Sailor
5:15*(2) Kentucky Derby
5:30-{13) House Detective
EVENING
6:00— (2) News Reports
(5) Range Rider
(7) Rin Tin Tin
(11) Buffnio Bill Jr.
(13) Polka Party
6:15-(2) Paul Paqe
(4) Sports— Harry Wismer
6:30-(2) My Linie Margie
(4) Hy Gnrdner Calling
(5) Looney Tunes
(7) Frankie Laine
(9) I am the Law
(11) Sky Kinri Adventures
(13) Harry McGuirk Show
7:00-(2) If You Had a Million
•^(4) Rosemary Clooney Show
(5) Adventure of Long John
Silver, With Robert
Newton
(7) Galen Drake
(11) Superman
(9) Fun to Travel
(13) Songs of Yesteryear
7:30^(2) The Buccaneers
(4) People Are Funny
(5) Crusade in Pacific
*(7) Rock V Roll Revue
(9) Million-Dollar Movie
(11) Soldiers of Fortune
(13) All-Star Movie
8:0O'A-(2) Jackic Gleason
*(4) perry Como (C)
(5) Film: Mike Shayne In
Threc on a Ticket,, With
Huqh Beaumont
(7) Film Festival: Frieda,
With Mai Zetterling
(11) Film: Captain Caution
9:00-(2) Gate Storm Show
ifU) Caesar's Hour
(5) Film Play: The
Rcdheaded Bandit
(11) Film: Caotain Cautio«
•^(7) Lawrence Welk Show
(9) C-usarier
(13) Film: Western Union
9:30— (^) Hey Jeannie, Comedy,
With Ijannie Carson
(5) Wreslling
(9) V/ar in the Air
(11) Public Dcfender
10:00-^^(2) Gunsmoke
•^(4) George Gobel
-^(7) Ozark Jubüee
(9) Star Attraction
*(11) Premiere Performanct
10:30*(2) Two for the Money
-^(4) Your Hit Parade
(5) Address the Nation,
With Norman Brokenshirl
(7) Adventures of Falcon
^(9) East-West Bowling
(13) All-Star Movie
ll:00-(2) News Reports
(4) News Reports (C)
(5) Not for Nervous
People Theatre
(7) PJight Show-Film:
Flight Lieutenant, WitI
Pat O'Brien
U:10-(4) Movie Gcg, With
Richard Egan
11:15*(2) Laie Shov
ll:30-(9) Million Dollar Movie,
With Robert Lowery
12:00*(4) Movie
l:30-(2) Film; A Bedtime Story,
With Frederic March
(5) Films 5:30-U3) nOUSe UeieClIVe wi; rnm. v^aMiam uaui.ui.
ON RADIO
WMCA
WVNI
WRCA
WOR
WABC
570
620
660
710
770
WNYC
WCBS
WPAT
WAAT
WINS
830
880
930
970
1010
WMGM
WNEW
WLIB
wov
WEVD
1050
1130
1190
1280
1330
WBNX
WNJR
WHOM
WQXR
WWRL
138(»
1430
1480
1560
1600
9:30 A. M.— Monitor <«overs the annual Truth or
Consequences Fiesta in New Mexico; also, 11:30
A. M. and 1. 1:30, 4:30, 5:30, 8:30 and 9:30
P. M.-(WRCA). ^^^ ^.
9:30-10 A. M.— Young: Book Rcviewers» "Ladies
of Courage," by Eleanor Roosevelt and Lo ena
Hickok. Teen-age eritics will interview ,Miss
6:06-6:3a-Backß:round8 of Music: With Prof .Mar-
tin Bernstein commenting on Wagner s Wes-
endonk Sonp:s"-(WCBS).
6:30-6:55-The Last Word: Panelists are Waltef
Lord. CathleenNcsbitt and John Mason Brown;
Dr. Bergen Evans, host— (WCBS).
7:05-8— The Strinif Quartet: Binaural broadcast
•^'
V\( ())
Ixnatino Alis Digest/ MAY 1957/73 ctnts
HANS HOFMANN
liv IJiznht'lU l'olh't
SPECIAL BOOK SECTION
n
i'l'U'IVS
hv Sitlnrv (,4'ist. VtriHni Yoiinff,
Ulrivh }\ viss
trin, Alfred W erner & othvrs.
AN OPEN LETTER
TO THE METROPOLITAN MUSEUM
MUSEUM OF PRIMITIVE ART
By llilton Kramer
^'•m^
'iMfe»-
: k: i\
■.^> 'M
't^:% ^
m:
4
#.C'
«' .**» -
t
1V'
rrl»
t#
#^
'i^
t^fß
(i.
«<y«l
H^
P t
^i-
NTt
W^f^'
i**
n*.-.-'
WILDENSTEIN
PAINTINGS
by
LUIS QUINTANILLA
through May 1 1
SCULPTURE
by
MARIANNE GOLD
through May 18
10 to 5:30
Closed Suiiday
19 East 64th Street, New York, N. Y.
Reserve your copy now
o/ the limited Publishe/s Edition of
ARTS YEARBOOK 1 958
The first in an annual scrics oj distinguislwd art
hooks (leioted to the great thenies oj art,
Each voIume of the ARTS YEARBOOK will be a self-contained and
definitive antholo^y in picture and text. The series will form a color-
ful permanent library of the world's ^reat art discussed by outstand-
in^ writers and illustrated with beautiful reproductions.
The first vohime, entit/ed
THE TURN OF THE CENTURY,
wi// he published in Oetoher 1957. in eo-operation with Doubledar & Co.
You will find fascinatin^r articles on this fabu-
lous period of artistic ferment and revolution which
produced the cornerstones of contemporary art.
You wont want to miss:
"^Mo^lern Art al the Turn of {\\v Onlurv/" This bril-
liaiit 1 5,()()()-w()r(l survey will traco the transitioii froni the
older ji<^'ii^'''ati()n of Cezanne and Monet to the younj^rer
artists like Matisse and Picasso, who created in Eauvisni and
Cubisin the art of our Century.
*^The World of ^The Ei^ht\^^ The whole panorania of
American culture at the turn of the Century will be seen
throujrh the eyes of the artists who called theinselves "The
EiKht."
^''NeM Pernpectives on th<* OIil Maslerj*.'^ This unusual
study of the revaluation of Renaissance and Barociue ai*t will
jrive special attention to the contributions of Bernard Beren-
son and Heinrich Wolfflin, who were larj^rely responsible for
establishinji: new perspectives and upsettin-^: old ti'aditions.
**Arl and ihe Victorians/'* This excitinj^r period in En^lish
literary and artistic life can boast of sonie of the niost bril-
liant Personalities in modern times. The article deals with all
the major tij^ures of the era, from John Ruskin to Roßfer P^ry.
^^Th«» l)ij*ro\ery of Primitive Art/" This much-needed
introduction to primitive art traces the artistic back^round
which made its so-called "discovery" possible as well as its
relation to contemporary art.
Note: As a subscriber to ARTS you
have the privile^e of orderin^ your
copies of the limited Publisher's
Edition at a special savin^^.
Pill in and mail this coupon today to:
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PAUL ROSENBERG & CO
ESTABLISHED 1878
19th and 20th CENTURY
FRENCH PAINTINGS
20th CENTURY
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SCULPTURE
20 HAST 79th STREET, NEW YORK
WATER COLOR
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SERIES 133"ALBANY"
A fine brush
at moderate price
made of selected
Pure Red Sable Hair
with the
craftsmanship
that assures
long-lasting quality.
Available in sizes 00
through 12.
ÜEATED CARDINAL - 1938 - BRONZE - h. 20V^"
Selection of Bronzes, Bas-Reliefs, and Drawings
April 24 through May 18
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Canadian Aeents: THE HUGHES OWENS CO., LTD. Head Office. MONTREAL
Californian Distributors: THE SCHWABACHERFREf CO., SAN FRANCISCO
incorportiting Arts Digest
CONTRIBUTORS
Elizabeth Pol-
let,w'li()rcvic\vs
New \n\\ cx-
liihitioiis regu-
1 a r 1 V 1 () r
AR IS, writcs
this moiitli on
tlu* Han.s Hof-
inann exhibi-
t i o 11 a t the
Whitney Mu-
seum. She is
the author of a novel, // Family Roinatu c,
puhJislied by New Direc tioiis, and of
short stories and reviews which liave ap-
peared in Partisan Rexnew, New World
IVritinui and Hoticuhr osrura. She is
niarried to the poet Debiiore Schwanz
and lives in Fittstown. New [ersey.
Txco Ami'ri((iu sadj^tors address thetn-
selves in this issite to the suhjcct of
"Sculpture nnd Arrhitccture." David
Smith'^s leorh will he the snhject of an ex-
hibitioti at the Museutn oj Modern Art
in September. Sidney Geiste a freqnent
eont) il)ut<)} , rerently liad a one-nian ex-
hibition at the Tanager Gallery ia \ew
York and is represented in sex>eral group
exhibitions this spring.
Patrick lleroii resunics Ins regidar (ontri-
butions to nur pages with his profile of
Roger Hihoii tliis niontli. His most re-
cent publica tion in Kngland is tlie tcxt
for a vohniic on Bracjue, publislied bv
Faber and Fal)er.
Atnong our booh evitics: Ulrich Woisstein
is n m einher of the Lehigh Unix>ersity
faculty . . . Kenneth Rexroth^ critie and
poet, xvrites frequent ly on Japanese sab-
jects: he is a rcgnhir eonlrihutor to 7 he
Nation and nther magozines . . . Suzattne
Burrey is a free-lance writer on art: her
profdes of Karl Scfirag, B. ]. O. Nordfeldt
and others Juivc appenred in our pages.
FORTHCOMING : Ihc June issue will
be a Special Paris Nuinl)er. Leading off
with a loni> article bv Edouard Roditi
surveying the artistic life of Paris, thcre
will bc special features on "The School of
Paris Today" by Alain Jouflfroy and
Michel Lacoste, a report on "Aniericans
in Paris" by Barbara Butler and reviews
of important new books froni F'rance.
Color platcs on French and American
painters.
m
MAY 1957
\ (A. 31, \o, S /75 Cents
ON THE COVER
Scutpture in stour. entitied ]\\vs
UKAI). of Cettii oioin in France (fourth
(culurx B.C.). Ihc work is in the
pfnniaficnt (<)llc( tioti of the new Mu-
seum of Ftimitivc .4rt in \cxr York.
The tnuseum's oprning r\hihiti(m is
dis(ussed f)\ Hilton Krufno in Month
in licx'iexc i pa<^('s f2-f'>).
20
30
FEATURES
10 The A.F.A. Couveutioii hv Jonathan \tarshall
17 Chicago's No-Jury Flxperiniejü \\\ ai.lkn s. wf.li.fr
Sculpture and Arrhitecture in david smiih and slI)NF^ (;fist
Fntrodudnn Roner Hilton in i'AIRIck hfron
Heren t Acejuisitions
Fi ans Ffofniafifi in fi.izabfth pdm.ft
Spe( iai Book Section
DEPARTMENTS
7 F. ET FERS
9 AU CT IONS
12 SPECTRVM: OFEN FETTER TO THE MFTROFOETFAN
14 PARIS
42 MONTH IN REA IFAV
46 MARCrARE/F BREI NI NO W RTF ES
48 IN THE i, AFFERIES
63 STUDIO FAFK
65 JVHERE TO SHOW
66 SUMMER PRINT CAFENDAR
67 CAF.ENDAR OF EXHIBITIONS
Editor CT- Pnblislier:
loNAIHA-N .\1 ARSJIAI 1
Managing Editor: Associate Editor:
Hilton Krämer Francis Klofppi l
Fayout and Prodiiction: Jamis R. Mm. low
Assistant Edüor:
Ann Pknnincton
Associate Puhlishcr: Fi sin Okin
Contrihuting Fditors:
MARCiARKI BREl'NINC;
BF.RNARD CHAET
LAVERN E GEORGE
ADA LOUISE HUXTABLE
JERO.ME MELI.QriST
ELIZABEFH POLLET
MARTICA SAVVIN
LEO STEINBERG
ANITA VENTURA
\ ERNON YOUNG
Executive Assistant: Mk.s. Phyton Bosvvell
Correspondents:
cniCAGO: ALLEN S. WEH FR
I()MK)\: PATRICK HFRON
l'ARIS: BARBARA BC I I I R
SAN FRANCISCO: KFNNIIH RFXROrH
Adx'crt is i n ^ ; J a ( k I- \ i ) i r
European Adi'crtising Representatives:
]. ARTHUR COOK MARCFMI URCNSWK;
\) IIOVI) SQUARE 19 RUF FOURCROY
LONDON. W.C. 1 PARIS 17
ARTS. (c^ 1957 by The Art Digest. Inc.. all rights reserved. Published monthly September through June. 116 East 59th Street, New York 22, N. Y. Telephone:
PLaza 9-7621. Re-entered as second-class matter at the post office at New York. N. Y.. August 27. 1954. under tne act of March 3. 1879. Subscnption
rates: Füll subscription. 10 months and ARTS YEARBOOK, $9.70 a year; regulär monthly edition only. $6.75 a year. (Foreign postage $1 a year additional.)
Single copy, 75 cents Change of address: .send both old and new address and allow three weeks for change. Contents of each issue are indexed m Art Index.
Editorial and advertislng Offices are at above address. Not responsible for unsolicited manuscripts or photographs. The cover and the entire contents of
ARTS are fully protected by Copyright and may not be reproduced in any manner vvithout written consent. Jonathan Marshall. President; James N.
Rosenberg, Chairman of the Board; Edward M. Bratter. Secretary and Counsel.
DUVEE N
ESTABLISHED 1869
Exhibition
of
OLD MASTERS
Through May
Distingiiishcd Portraits
by
ALFRED JONNIAUX
May lst-25th
lllustrafed Brochure on Requesf
KENNEDY GALLERIES, Inc.
Esfablished 1874 by H. Wunderlich
785 Fifth Ave. bet. 59 & 60 sts. New York 22, N. Y.
FUKNCII & COMPANViNc
EsrAOLiSHEO leao
210 EAST 57th STKEET • !^EW YORK CITY
DUVEEN BROTHERS Inc.
i8 EAST 79 STREET
NEW YORK %i, N.Y»
Portrait of a Boy
John Singer Snrgeiit
ajter Velasquez.
One of a pair.
Reduced froni
$4,750 to $3,500
ihe pair.
i6»2" .r 22"
1 hv above piece is one of the 12,000 itenis which are
included in our inventory sale beinp: hold through
May, in connection vvith the removal of our galleries
to the Parke-Bernet Buihling, 978 Madison Avenue,
which we have just purchased. Prices are reduced
from 20% to 60%.
n
PROFESSOR MYERS REPLIES
In the F.dilor:
I havc watchrd wiili iiitcrcst llu' licallhN dt-vfl-
opiiicnt ot AR IS iis an (nj;an of aitistic opinion.
l 11(1(1 jc)innalisii( picssmcs. howi'MT, all niaga-
/incs (KcasionalK tail inio the iiap ol hastv
jiid^ineiU. Ihis sccins to lia\c liappcnccl in your
\|)iil cvaliiahon ol iii\ pilot stiidv. Proltlons of
t/tr ] oiuiircr American Artist.
What. you ask, was ihr pur|)ose of this sliort-
icrm sinvcv? Ilad \ow read our introduction
niorc than (asuall\. von would havc sccn ihat
uc ucic ((*n(('inc'd with (hc viahilitv of Xcw
\'ork IS a (nllinai (cntcr and llic degicc lo
which Liic Noungcr (i.e. the not \c'l successfui)
aitist fa(('d prohlcnis in \he cxhihiting and the
niaiki'ting of his woik,
\'on (jucslion the need for inorc exhihiting
Space fcM- artists in general and eile the facl
thal iheie are inore ihan one hnndred galleries
in New \()ik, CertainK true. i)nt of tliose proh-
al)l\ onlv half are interested in eonteniporary
American art, and of these it has heen estimated
ihal alunn tweiUv hve show ahstract-expression-
isi inaterial. Acxordin^ lo Mr. fiess's piece in
the current Art Xcw.s, ijie avant-irardr artist
has liad to create his own exhibition Space in
the smaller co-oj)erati\e galleries ^vhere artists
l(»ok al the work of oiher artists. Apart from
this groiip. snrely we all know a great many
"artists with real abilitv" who have become
siiperannnated, passe? in terms of todav's search
for noveltv or otherwise out of the swiin. and
are therefore wandering abont without gallery
((»nnections. Our "facile statistics"— whether von
like them or not— show a lack of exhibiting
s|>ace for artists who have bc'en judged worthy
of admission to the imiseiim group shows and
artist Organization shows of tlie past three years.
Ihe vcrv practice of renting gallerv Space on
Ihe basis of ability to pay rather than on c|ual
ilN ineans that the poor but worthv artist is
deprived of everv gallerv space taken iip by a
Space purchaser. ^'on mav have overlooked this
|)(>int in our report. logether with our Observa-
tion that nianv galleiies coidd not sinvive with-
out charging lor space.
I am afraid that in our |)aragraph on "dilet-
tantism" von completelv missed our intent. Ihe
pur|)ose of cpiestioning artists on the ninnber of
hours per weck thev worked at "their profes-
sion" was lo c()n>j)are this amount of liine with
that spent on other monev-earning activities
(see p, 20) and to determine to what exteni one
could still apply the term "jirofessional" to
such |)e()ple. As to whether the author and his
(olleagues reali/e that artists" work "is pari of
their lives e\en when they are not j)hvsicallv
erealing." please note on the \erv next j)age Ave
sav: "If it were objec ted . . . tliat thev need not
necessarily put in more than Ihirtv working
con tinin'd oti /xii^c 62
CORRECTION
In Marticü Snxvin's "Ad ja Ynukcrs" [Ajnil],
the contiuuitx of the tr\t was altcrcd h\
an unfortunatc tran.sfxisition of f)ara-
irrophs. The cditors r\trnd aj>oJooctic rc-
orets to tlir artist and the author.
* ^^^ wm iw ^ ^ ^ ^ ip li» ^'^r^F'^irv ip ^ ^» ^
^ - - - • ^ ^ ^ ^ I» ^
1'
i
PARKE-BERNET GALLERIES • Ine
980 MADISON AVENUE
NEW YORK 21
Lrubiic CAuction Sali
es
APPRAISALS FOR TAX AND OTHER PURmSES
I
öcile lliaij 8 at 8 p.m.
OLD MASTERS
CENTURY WORKS
MODERN P A I N T I N G S
Property of
A MASSACHUSETTS PRIVATE OWNER
AND FROM OTHER 80URCES
OLD MASTERS by Salomon van Ruysdael, Lucas Cranach the
Eider, David Teniers the Younger, Jan van Scorel, Giovanni
Santi: Romney, Raeburn, Vigee^Lebrun, Willem Kalt and others.
Vne Torrent dans les Romagnes CoROT
XLX CENTURY AND MODERN PAINTINGS— Fantin-
Latour, Mancini, Worms; Monet, Jawlensky, Raoul Dufy,
Boudin, Vlaminck, Redon, Segonzac, Matisse, Degas: John Sloan,
Childe Hassam, Waugh, Pushman, Hartley and others.
A bronze by Daumier and a sculpture by Sintenis.
Illustrated Cataloguc 75 f
Seile 1 1 Lcitj g ot i:jfj p. lu.
GRAPHR: ART • A GROUP OF DRAWIN(;S
By MODERN MASTERS
Prints by Matisse, Degas, Picasso, Braque, Utrillo, Lei][er,
Bonnard, Duty, Marie Laurencin and others including an exten-
sive coUection by Toulouse-Lautrec and a hne woodblock print in
color by Gauguin. Drawings by Degas, Delacroix, Raoul Dufy.
Matisse, Forain, Millet, Le Fresnaye, Despiau, di Chirico, Rodin.
IWustratcd Cdtdlo(yuc 50(1*
Both Collcctions On View from May 4
»'
.-
>*
1-
ARTS/Af./v 1057
SCHAEFFER
GALLERIES
983 PARK AVENUE, NEW YORK 28
Corner 83rd Street Tel. LEhigh 5-6410
GALERIE PIERRE
2 Rue des Beaux-Arts (corner r. de Seine)
Telephone Dan. 53.09
PARIS 6e
BERNARD
April 25 -May
uDUFOUR
May 16 -June
, MACRIS
June 1 - 22
lAPOUJADE
PAUL PETRIDES
53 rue La Boetie
Paris 8e
Tel. Bai. 35-51
MAY - JUNE
AX PAPART
Exciusive Agent
Max Papart
Still Life
IN JUNE
EXHIBITION OF THE BOOK
THE TAMING of the SHREW
ustrated by AIZPIRI
With The Original Gouaches From Which The Lithographs
lllustrating The Book Were Taken
AUCTIONS
MASTERPIECES FROM FIVE CENTURIES
INCLUDED IN COMING PARKE-BERNET SÄLE
AN extensive ^unii) ^** paimings, drawings and sculjnurcs by
inasters ol the sixteeiuh to tweritieth centurics, dcriving
fiom a Xfassaehusetts private (olleetion and other soiirces, will
pass mider the auctioneer's gavel on Wednesday eveninj^r, May
8. at the Parke Beriiet Galleries in New York.
Best-kiiown anioiio the paintin.sr.s by old masters are Saloiiion
Ruysdael's // Riverside Village with a berryboat, Liuas C:ranaeh
the Klder's Johann I der Hestandige Kurfürst und Herzog von
Saclisen, Ronmev's Captani llilliani Onilvie of Ardirlass, Ire-
Innd, Raebiini's Sir Williani Houeynian and Giovanni Santi's
Madonna and Child. Besides paintings by David leniers the
Youngcr, Antonio Moro, Van Monthorst and Hendrick Pot,
the categorv of ancient works in( Indes a still lile by Willem
Kalt, Jan van Scorel's Portrait of a Lady and V'igee-Lebrun's
Conti tess Savoroiian di lirazza.
Aniong the inneteenth- and twentieth-tentun paintings are
Corot's Un Torrent dans les Rotnagnes, a .S7/7/ Life by Fantin-
Latour, Monet's Le Lac, Ghilde Hassam's In the Sunlight,
Jawlensky's Blonde Fräulein and Duly's Le Piedestal ä la jatte
aux fleurs. Also represented are Kondin, Vlanniuk. Segonzac,
Redon, Dcgas, Friesz, Valtat, Henri Kdniond Cross, John
Sloan, VVaiigh. Pushnian and Hartley. Sc ulptures iiulude pieces
by Danmier and Sintenis.
All works in the May 8 art sale will be on exhibit at the
Parke-ßernet Galleries begiiniing Saturday, May 4.
AUCTION CALENDAR
May 2, at 1 :4.'5 p.m. Parke-Hcnict (.allcrics. Kgvptian anticpiitics,
(.reck and Roman art, Gothic and Renaissance art. l»ropcrty of .\frs.
Charles K. Ciawlev. New York, and fioni the tollcction of the lale
Isahelle McKay Peck. Pittsburgh, sold by ordcr of her daughter. and
froni othcr sourccs. Fxhibition now.
May .3 and 4, at 1:45 p.m. Parke Ik'rnet (.allerics. Georgian and
Regencv furnituie and decorations. Chelsca and other Fnglish
porcelains. silver. rugs, Chinese arl. JMoperty of Nfrs. Margot A.
Holmes, Mrs. Anna D. Griscom, the Childrcn's Aid Sotietv and
other owners. Fxhibition now.
May 7 and 8, at 1:45 p.m. I'arke-Bernet Galleries. Autograph
letters and dotninents. niainly American. Collccted by the late Forest
(i. Sweet. Battle Creek, Michigan. Included are letters and docu-
nienls by Washington. Adams, Jeffersoii. Lincoln and others. Fxhi-
bition now.
May 8, at 8:00 p.m. Parke- Bernet Cialleries. Old masters, nine-
tecnth-centinv and modern paintings. From a Nfassachusetts private
owner and from other soinces. ( For details sec story above.) Fxhibi-
tion from Mav 4.
May 9, al 1:45 p.m. Parke-Bernet Cialleries. Graphic art, from the
estate of the late Fiidwig Charell and other owners. Prints by mod-
ern masters, incinding Malisse, Degas. Picasso, Bracpie. Lltrillo.
I.c'ger. Boiniard. Dufy and Laurencin. Fxhibition from May 4.
May 10 and 11, at 1:45 p.m. Parke-Bernet Galleries. French fur-
niture and decorations, modern paintings, rugs. Property of varions
owners, particularlv Mrs. Anna I). Griscom, lucson and Phoenix,
\ri/ona. Fxhibition from Mav 4.
May 15, at 1:45 p.m. Parkt- Bernet Galleries. Precious-stone and
other jewelrv, all from private owners and eslatcs. Fxhibition from
May 10.
May 17 and 18, at 1:45 p.m. Parke-Bernet (ialleries. Fnglish and
American fnrnitnre, decorations and paintings from varions owners.
incinding fiunishings removed frotn the resiclence of the late Walter
J. Salnion and sold by order of Mrs. F. Warrington Gillet. Fxhibi
tion from May 1 1 .
May 29, at 1 :45 p.m. Parke-Bernet Galleries. Ciarden and lerracc
fiuniture and sculptures. faience. limestone, cast-iron and other
decorative objects, assend)leci bv Mine Rcnc'e (inibal. HaiU-dn \'al.
France, and sold bv her ord''»- Fxhibition from Mav 24.
ARTS/A^/v 1957
ANDRE
RAIN
DRAWINGS (FIRST SHOWING IN AMERICA)
THROUGH MAY 25
GALERIE CHALETTE
1100 MADISON AVE (82-83 ST)
ARTHUR TOOTH & SONS LTD.
kj/ii
r'\ 4.JL*,
1^^m>-m
riiUf dt' la Concorde, 1956
Recent Paiii^iiic/.v
bi:rxard bii fut
30lli April - 2.itli May 19.i7
diso paintintss bv
THE IMI'RESSIOMSTS
MOniGLIAM. SOITINE. PICASSO
de STAEL am! RIOPELLE
:t I KRITOIV STKKET
RARE COLLECTION OF
ANTIQUE JAPANESE
COLOR PRINTS
COLORFUL WATERCOLORS
Kabuki Actor Prints
by Shunsen (Contemporary)
Size including mat 13" x 19"— SIO.OO
iSef of six 550.00^
WM. LEE COMERFORD
55 E. 55 St., N. Y. Plaza 3-3374
Paintings by
GEORGE BELLOWS
H. V. ALLISON & CO.
Paintings • Prints • Drawings
32 East 57th St., New York 22, N. Y.
THE A.F.A. CONVENTION
Houston Hirrtifio frafnyrs DnrhaNi/) llrotlios rxhihition, Tr.xas (ulisls und
nohihlr /}iivafr iollniions . . . niu.sruni dirrdors, ((hoa/ny.s, diti.sts, drulns
and Inxnicn hrnr slx-nlns h\ Mcxrr SV// r/ />/><>. Hnndall fanrlL Will nun Srilz,
l\U(l<)lj)}i .l)}ihcnn nnd oihcis . . . hn.stcrs rltu tcd
BY JONATHAN MARSHALL
AiMoM lillcfu liuiidrid |)t()|)lc iiiuiulcd llic
^ \imri{;m I cdt liiiion ol Arls (oiiMinion, or
i\lr;i\;ij»;in/;i. in Housioii (lmin)i» ilic lirst weck
ol \|)iil. \si<|(' Irom ilu- mmihcr ;il (cndiii^.
nioM- th;iii IkiII ol whom ucic I cxaiis. iliis
ii^ianl )4;i(lu'iiii^()l ilu' an dans was noiahlf ior
inaiu lliiiij>s. It prodiucd ilic (irsi aw air lift. il
prodiKcd maiiv j^ood lalks and ol romsi" somc
l)a(l oiu's. and ii did iniuli lo stimidatc an in
I t'\as. Il was also umisiial in thal not onc I cxas
jokc was loislcd oii ihc aiiditiuc-.
One si^niluaiu aspcd ol ihc (oiivcnlion was
llic c'lfi(i('ni jol) ol (>ioani/iii^ (Nuic hv tlir \.l". \.
and ihf hual (oininilUr licadcd l)\ Sianicv Mar-
cus, ihc (onxc'Mlioii (hainnan. and john de
Mcnil and Prcslon Bolton ol Honsion. Inlikc
inosi an cxcnis. this onc was well oigaiii/cd
down lo iht' lasl dt'iail and rnt'ivcd cxtcllcni
|)itss (oNciamf llnonj^houl ihc naiion.
in addilion lo ilic \arious sj)cr(lics and paiu!
discnssions. local nniscinns. gallcrics and i)n'\alc'
grou|)s oij^ani/fd special cxlnhilions on a stalc-
widf hasis. I licsc int Indcd tlic " I Intr Broilicis"
at thc Mnscinn ol Finc Ans in Houston, "Tacc-
niaktrs" al Houston's (;onic'inj)orarv Ans Musc-
nni. ■Illnininalions" Kallcd l)\ onc waj» "F.Iiini-
nalions") ol ldl\ maslcrpicrcs hcing (innlatcd
hy Ijjc Mdo^aiinr. "Survev of Texas Anisls" at
ihe Dallas Museum. "Sculplors ol I exas" al tlie
Ion Wonh An Cenui. 'JirtN l'aiiuini^s Ironi
I ill\ I exas ColUdions" al llie Nfaiion Koo,i;l( i
M( \a\ \n insiiiiue and "( .oiUt inpoiaiA Reli-
.Hious \n" (iot»eiliei wilh a llower sliou ) at llie
Wille Memorial Museum in San \nionio.
Museum exhihiiions ueie suppleinenied l)v
lours ol Ihe |)ri\ale ((»lle( lions ol Miss lina Ho.ujl;,
Mr. and Mrs. Rohen Sirauss and \h. and Mis.
john de Menil in Houston. Mr. and Mrs. Rohen
W indlohr and Mr. and Mrs. Vndrew luller in
Ion Worth. and Mr. and Mrs. Stanle\ MaKus in
Dallas. Ihe Dallas ((»niin):>eiH ol ihe an air lilt
also \isiled llie new Jew isli ,S\ na<;()i»m' in that
(il\ which ranks amoiio ijie mosi darin); and
heaulilul ol new reli^ious sirudures answiiere.
Another sii»nili(ant aspen ol thc ((unenlion
wem ludieralded and deserves s|)e( iai nuntion.
A((()rdin^ to a well-inlormed sourcc. ihis was
ihe Inst timc thal \egroes uere admiiud as
j;uests K» Ihe lamous .Sliainroik Iloiel wheie ihe
(ouNention was held.
I he re(()rd atlendance induded leadinj; mu
seum diredors Irom all parls ol the counlrv,
edmators. anisls. (oliedors. dealers and manv
Ia\men. hoth dealers and (olledors Kx.k the
o|)|)ortinnl\ to heconie a((|iiainted wilh I exas
anisls and in a numher of tases to aeijuirc works
ol an.
1 hree new memhers were eleeted lo the A.F.A.
lioard ol I nrsiees at ihc aniuial meeliiijr. These
were Dudlev F. Fashv, Jr., Secrclarv of the .Met-
Randall JanrlJ. Stuart Davis und Mrxrr Srhul>im al tlu Anutnun Frdrration of Art.s Convention
in l tonst on.
10
hK\l May 1957
n'l'ol'lan Museum ol \,,. U ilji,,,, ( . Murias
l'ivsHieni <,1 ih(. Munson Williams j'nuior Insti-*
""*•• •'>'<« '••iM^M C. Sd.e.Hk. Direclor of ihe
HrooklNu Museum. Ollucs were ;dl re-eleded
'<" ••"''•'hm Near. wilh James S. Sduarnm (c.min-
um,n as President.
fii his keNM(,te address lo ,!,(. eonvenlion
J'x'lcssor McNcr S.hapiro ol (chni.l.ia I nivcr-
NMN relra((d the shil, ioward thc- |,ers(,nal in
llif ;iris (huu.o Ihr last hundre<l Ncars. Ihe re
jfclm.s. of represenialion. he i>(,ii,i(><| (,„( |,as
«iMU the uidiNi<lnal the power K» shape liis oun
iH'hels: -1, has K-d i<, ^u-ater NaricU and nw.re
•''l"'l (l'^m^cs in siNles and ideas . . . didies do
'"»' l^'^l loiiK. • Dr. Schapiro remindrd ll.e audi-
•"<^- "'«" •'" '^ virtualK ihe |;,st Ncsiioe of per-
M.nal (lealion in o,n modern, n.ass pro(lu( t i.,n
W(Mid. He (ompared ihe ad (,1 (,r;uin^ lo iju.
;•<' <»' idkm^. in whid. words haxe an order
•tnd esiahlisl, as well as depend ..p(,n a (onlext
'" '»»"' '"' ;'n<l speeeh ihere is an elenient of
"'»• uu(<)nsdo„s cnterinu im,, ,1,,. (,(.;nio„ ,>i
■'(M(ler oul ol disorder."
I" ilir sNinposinm thal loll(»wed, poei R;mi
<l^»ll Jarrell Nic.JenlK atta<ked \l)sira(i Fxpres-
sionisni. (allino ii tlu- -intensiNe exploiialion ol
une |)arf ol ihc re\ohilionai n Iradilion ol Uon-
«liMd. Maliss( and ricasso. Coniiniiinu |,is at-
liuk. jarrell (oniparid Ahsirad Fxpressionisin
"» ll'c luohh pul.li(i/ed r(Teni painting l,v a
Baltimore monke\. In esseiue he <dl(d Ior a i
'^""" "> natme. deelarino thal -Man and the |
World are all thal thev exer were." In reply
Dr. Sdiapiro poinKd out thal ^ainlin^ depends
<»i. the ad.ieNenu-nt of (pialiiies" wluc h a n.on-
kcv cannoi reali/e; spontaneity in itsdf does not
(reale <»(>od or had.
Ilu- serond panel. wilh William Sv\U as niod-
eraloi. was ((»ndined wilh *" I he Creative Ad"
and lormed one of the eonveiuion hif»lilij»hts. In
liis iniroduelion Professor Seit/ deelarnl lliat the
"ludrrn anist "(hose lo end)ark on a lile of
<realion Ior ends enlirelv seif ovncated. and
pnuhued Works Ior whieh liiere uaN iio .social
«Iduand . . . let us face one hu l s(piarel\: while
he is working. the Ivpicallv (()nien,p„nnN artist
is unaware of what the |)ul)li( likes or dislikes.
He is totalis (uxupied wilh the aiuhenli( itv of his
t'xperience." Cominentin^ on ihis. Mar(el Du
<liamp claimtd that the -creatiNe ad is not per-
forined hv the artist alone. I he spedalor hrinos
Ihe work in (onlrasi wilh the external worhl
. . . inierprclin^ iis inner (pialilual ions and ihus
addiiii» his ( ontribiuion. '
( «»miniunj^ tlie dist nssion. in oneof ilie (onven-
nOns hest lalks. Dr. Rudcdph Andieiiii of Sarah
l.awreiKc College dedared: "Creative ihinking
l)elow the le\d ol awareness picserMs the pri-
mordial umtv of tJion<»lit and ima^c. uilliout
whidi an is impossihle. Our ( i\ ili/.uion pro-
moies a Separation of ahsirad ideas Iroin whal
Ihe senses i)er(ei\e -which is fatal Ior ihe artist.
. . . It is also true thal |)rimiiive reasoning cen-
lers lorever ahout the hasic (onterns wilh lile
and death that must remain the hunulalion of
llie work of an lesi it lose ilself in the shades of
I>riNate sensiiixitv . . . | he apparent sin.plicilN
ol some liul\ snhsiantial modern an is as derep-
tiNc as the appareni sid)sian(e of sonie iruh sim-
J>le modern an. "
Ihe linal panel. disdissini. thc iiehulous topic
"Irom Anist to l'nl)li(." disinlegraied at the
heoinning wilh a h)rlv-li\e-!ninule sliowing of
slides of |)ainlings that had changed in value
siiue their (reation. Despiie ihe exccllcnt chair-
maiiship of Fhilip R. Adams and strong State-
ments l)\ jinniiN Frust and Kernard Reis, it
proxed an anli(limadi( ending lo an olherwisc
slimidating (oiuenlion.
In (ondusion it (an he said that ihis was proh-
al)l\ the hesl-organi/ed and inost livelv Ameri-
tan an coineniion in hislorv. Mthough sonie of
the lalks could cerlaiidv he improved lipon, the
Standard as a whole \vill hedillidilt to live uj) to
in llie future.
The most exciting, most
significant, and influential
artists of the 20th Century^
tijE
A SURVEY OF THEIR GRAPHIC ART
Text hy Carl Ziqrosser, Curator of Prints
and Drawwqs, Philadelphia Museum ol Art
The work of Cranach, Goya, Ensor.
Rousseau. Van Gogh, Gauguin.
Kandinsky, Klee, Feininger. Kol'lwitz.
Beckmann, Grosz, Picasso. Roualt.
Chagall, Weber. Marin and others.
122 hlack and white reproductions,
8 pages in füll color—hand
mounted—size 8V7" x U"
$10.00 at all hookstores
GEORGE BRÄZILLER, INC. 215 Fourth Avenue. New York 3
DANIEL
MAY 13-31
SERRA BADUE
THE CONTEMPORARIES • 992 MADISON AVE. AT 77
ARTHUR OSVER
PAINTINGS
GRAND CENTRAL MODERNS
TO MAY 17
1018 MADISON AVE.
Drawings
J
May 6th-29th
IRVING MARANTZ
BABCOCK GALLERIES
Carmine Dalesio, Director New Address 805 MADISON AVE at 68 ST.
158 W. 58
Tel. JU. 2-3077
HOMER
COSTELLO
THICKLY TEXTURED
Sfreef Scenes, Landscapes
Abstractions
Low Budget Price
WED. & SAT. 2-5 OR BY APPOINTMENT
"NEW WORK"
May 6-25
BLUHM • BUDD • DZUBAS
J. JOHNS • LESLIE • LOUIS
MARISOL • ORTMAN
RAUSCHENBERG • SAVELLI
LEO CASTELLI • 4 E. 77 • 2-6 PM
PAINTINGS BY
PADUA
STUART J.
Thru May 21
SCULPTURE
Opening May 13
s
VAN DIEMEN-LILIENFELD
21 E. 57 St., N. Y. C.
GALLERIES
CONTEMPORARY ARTS
802 LEX. AVE. AT 62 ENTRÄNGE ON 62nd ST.
May li'June 8
L E o N o R
MOTHERWELL i F I N
Sidney Janis 15 East 57
GALLERT
75
30 E 75 ST NY
thru May 15
II
OPKN LKTTl^li T<> TIIK MKTR< )1><JI.ITAN
S rt tu u e I F, B,
Morse^ im muse—
SUSAN WALKER
morse; heq liest of
Herbert L.Piatt. All
photographs coiir-
tesy of the Metro-
politan Museum of
Art.
Mary Cassutln
l \D\ AI IMF T1:A
PARI. F.
Winslow Homer, norihfasifr; gift of Geor<re A. Hea
rn.
Eight yenrs ago James S. Rosrnbcrg, xvriting as an artist
and private Citizen, sent a series of nine open letters to the
Metropolitan Musenm of Art rharging if with ''gross negiert"
of contemporary American art. Since that time the Mnsewn
has changed its policies and has heen collecting and exhibit-
ing xvork by our conteynporary artists.
In the near future the Metropolitan Museum of Art will
oprn new rooms for American art. These galleries, tue agree
xüith Mr. Rosenberg, are totally inndequate to exhibit perma-
nently the Museum's vast American collection. We believe
that it is time to hoiise this collection in its oxvn building, and
tue arr honored to prcsent the folloxring open lefter froni Mr.
Rosenberg, xvho is Chairman of the Board of this magazine.
-J.M.
A\/^». .,.^,
April 29, 1957
Mr. Roland L. Rcdmoiid, President
riie Metropolitan Museum of Art
New York, New York
Dear Mr. Redniond:
President Eisenhower's "people-to-people" program and his
recent appointment of David K. I inley as ehairman of a na-
tional ronnnittee for the purpose of a((juaintini,r the world
with the art of the U.S.A. should demonstrate that our coun-
try IS not merely an assembly line in the land of the dollar.
It is in Order to implement the President's plan diat I now
address this open letter to you. First of all, it is due to you and
yoiir fellow trustees that the Metropolitan Afuseum has
achieved a laudable change in poli(v within recent years.
Whereas eight years ago I publidv diarged the Metropolitan
Museum, and particularly its then direetor, with gross negiert
of the contemporary art of our country, it is onlv just tliat I
now applaud the actions of the Museum since then. and the
devoted and able work of RoIkti Beverly Haie, which have
resulted in die acquisition of over five lumdred examples,
traditional and advanced, of such art.
Notable as is this record, there is urgent need for your great
Museum-here on Manhattan Island,' which has, so to speak,
become the world's capital-to have an American Building so
that our entire art from its pre-Revolutionary beginnings may
be adequately and permanently on exhibit. Ihough I know
you share niy views, you have told nie that it has up to this
tinie been impossible because of lack botli of space and funds
to accomplish this purpose.
To judge whether your Museum's collection of the art of
our country deserves such an American Building, I have, with
Mr. Hale's aid, made a study of your Museum's possessions
resulting in certain strong convictions:
1. Ihe Metropolitan Museum's twenty-four thousand Amer-
ican Works of art comprise, I believe, the greatcst collection
of American art in the world.
2. We Americans have an artistic tradition and heritage
fully worthy of our great country.
3. Our artists today are producing works rankiiig with ihosc
of any other country.
4. Conlionted with present international tensions, it is our
imperative duty to place the American collection of the
Aretropolitan Museum on füll exhibition for the world to see.
In Order that the public may gain at least a liint of the
Museum's treasures, I outline the result of iiiy explorations.
The more than two thousand oils in your American collec-
tion include many of the finest examples extant. Tliey trace
the history of painting frcmi the early lininers throiigh West,
Copley, Stuart and their contenijjoraries to the present day.
12
Ihey include iiinumerable famous portraits of our countiv's
great men. I hev include examples of every trend our artists
have fol Owc^d through the centuries-the vigorous Hudson
River School, the works of the paintei -naturalists Audubon
and Heade, our genre and still-lifr painters, twenty-two oils
by Homer and Kakins. thirty by our expatriates Sargent.
VVhistler and Cassatt, works by the revohitionarv "Eight"' and
their followers. The vast contemporary collec tion, most cath-
olic in taste, ranges froni Grandma Afoscs to Jackson Pollock.
Ot American drawmgs. watercolors and prints, the Museum
owns inaiiv thousands. How can I des. ribe this collection?
Works bv Currier and Ives. a füll history of American prints
and illustrations, a record of American cartooning. sixty water-
colors by Marin alone.
Vour sculpture collection numbers over four hundred works.
certainly the largest in the land. Kvery great sculptor our
country has produced is, I believe. represented. often by his
greatest work. Ibis collection has not been on display for
many years. J he Museum's assemblage of h>ur lumdred or
more American miniatures surpasses in size and qualitv all
other such collec tions.
0{ this entire great American collection onlv the decorative
ans Ol the Colonial and Early American periods have been
on truly permanent display in recent tinies. Space forbids a
further bst ol distinguished names l(,ngc>r than Homer's cata-
logue ol ships.
Ihis description calls to my niind a Erench collector wIküu
I inet seNeral vears ago. Enthusiastic as he was about the Mu-
seum's World treasures. especially the süperb Cloisters created
by James J. Rorimer through Mr. Rockefeller's princely back-
ing. he remarked that our "capture" (as he put it) of these
treasures breeds envy of. rather than aclniiration for, "your
rieh Uncle Sam," and deplored the fact that we display so little
ot our own art at the Metropolitan Museum. His remarks re-
call the onlv too well justifiecl Statement of Andre:' Maurois
(in his book. ./ History of France) that "the great American
museums. in partic ular so far as contemporary inovements are
concerned, have become museums of Erench art." Is it not
high time for us to answer such aniinadversions?
Here on Manhattan Island dwell the delegates, their staffs
and families, from eighty nations. Here are consulates and
representati\es of foreign industries. In the past ten years
more than twenty-three million visitors. not only from our
lorty-eight states but from many foreign lands as well, have
crossed the Museum's threshold without charge (costing vour
Museum, you have told me, over one dollar per visit!).
It is tragically clear that neither our World War victories
nor our diplomacv, nor our outpourings of billions of treasure,
have yielded us the world's friendship, or brought peace to this
planet. Art. which speaks a universal language of peace froni
"jH'ople to people." is entitled to a chance to speak out and
help toward that better world which all niankind craves.
Eor names of once-lamous emperors, soldiers, hnanciers and
statesmen of past centuries, we have to thunib through dustv
pages of history. But Maecenas and Eoren/o de* Medic] live on
because of what they did for letteis. art. artists and die world.
A challenge and an historic opportimity confionts von.
your eminent fellow trustees and all of us who are friends of
your great Museum. A noble structure permanently housing
the art of our countrv should adjoin and be an integral part
of the Metropolitan Museum of Art. 1 piay the day niay be
near at band when I shall see you dig the first shovelful of
earth to start the foundations of the Metropolitan Museimrs
American Buildini».
Respectfully yours,
James N. Rosenbeij:
George W\ Hellows. i r im ui dson; gift of Hugo Rrisin"rr
Walt Kuhn, cfown wmh rfack wig;
C'.eorge A. Hearn Fund.
Lee Catch, fhf ihor.n; tlic Fdward /. Calhiglirr 111 Memorial Collection.
hX\%/May 1957
23
SAIDENBERG GALLERY
Exfended to May 1 1
LYNN CHADWICK
RECENT SCULPTURES
Exhibiilon
Opening May 13
HOMMAGE ä
KAHNWEILER
honoring Daniel-Henry Kahnweiler
who over the last fifty years has
represented the following artists:
BRAQUE • GRIS • KLEE • LAURENS
LEGER • MANOLO • PICASSO
BEAUDIN • KERMADEC • LASCAUX
MASSON • ROGER • ROUVRE
10 EAST 77th ST. NEW YORK
the Primitive Arts of the World
Part I:
FROM TLATILCO TO MAYA
A Survey of
Pre-Columbian Cultures
May 1-31
D'ARCY GALLERIES
19 Eas» 76 New York 1 to 6
LYceum 6-4848
PARIS
im
Ihr hni^-incaücd Mofuhiau rrtr(t.spr( tivr-ni a dnnatr ni (ntual antitntcUeclualis
a nnsinhj^ir survey nf Dada . . . Picayso thr oprtiin^ rxhihüin nl nnv /.oui.sr Leins i^^uUery
. . . dnneinfrs hy Andre Derain . . . ( oinpre/iensive shows hy Jacques l'illon and Andre IJiöte
BY BARBARA BUTLER
Tills mujsualh hiiliiinil monih, just prcading
tlu' hurst of adiviiN wliidi .iniiuallv cliarac-
itri/cs hl ornnde saisoji o{ Mav and jiinc. has
Ix'cn lor Ihc mosi pari a liiiif of sumniinj^s iip
aiid .1 j^tiuraJ (IcploMiient of major forrcs in
rc'vicw. lU'Uvrtii ilic North and Soulli l'olcs of
Ihr Moruhian and Dada irlrosiuciives, exliihi-
tions of IJiotc and Dtiain. \ illon and Picasso
lic. at inicnnc'dialc ialiludts. ahoul a kind of
(•(lualor: üw s|)lcn(lid shou 'Dcpuis lionnard"
(Mgani/cd hy ihc Soc irU" des Amis du Muscc
<r Art Moderne. I his last txhihition of sonic iwo
hundrcd painlings from prixaic i*arisian rollcc-
tions is in iiseif a kind of h\ in^r acadnnv, par-
li(uhirl\ of tlic FauNc pcriod, hut tncompassing
all of modern painting in France from Modi-
gliani and lionnard lo \ ieira tia Silva. The levcl
is uniform and unusuallv high, eslahlishing a
sort of Standard wherehy lo measure currenl
exhihilions.
Ihe major exent at ihis moinenl. however. is
inidoui)tedl\ the long awaited Mondrian exhihi-
lion whidi is now at the Denise Rene gallerv.
F he dehn in presentation is symplomatie not
oidv ol the Situation of af)stra(t painting. hut of
Ihe general esthetie and intelleetnal climate of
postwar IraiKc. Hui herc at last, afler ten vears
of |)rogressi\e entreiuhment of what is knovvn in
the eneiiiN (ainp as "l'idfstraction jroide," is
Mondrian in retros|)e( t i\e. One's lirst reaetion is
to ask why the cvent was so long in (oming. Ihe
oflitial explanation is that the Dutth nniseum
autiKMities (whidi ineans primarilv W. Sand
herg) wished to hold their own large-scale retro-
spe(li\e heforehand. and that their Ireiuh eol-
leagiu's were reludant to impose ihis exhihition
on uhat the\ feit was an unprepared pid)lie. I o
judge. however. from the response to this show.
the puhlic has again heeii underestimated. and
Ihe exhihition has heen almost as populär as the
Rend)ran(lt engra\ings and drawings at the In-
stitut Xeerlandais. hi Mondrian another Dutdi
master (and. ii might he added. oiie who made
Frame his home througli the greater pari of his
(areer) has heen adnowledged.
ihis small. admirahiv seleded exhihiiiou it-
self is weil suited to introducc the artist. iiased
on the Mondrian show at the Wnite liiennale
this Summer, it in eilet l (l(»es for l'aris largelv
what tiie SiducN janis exhihition of 1949 did
for \ew ^ork. Highh sele(ti\e. as the great
Museiuii of Modern Art lelrospective tould not
l)e. it was e\en niore instrudive. Ihe twent\-
two (an\ases ränge fronj the tree studies of \\)\()
and 1911 to (the Museum of Modern .\rt's)B?Y;r/r/-
?/Y/v liooi^ic-W Ooiric of 1942-4.'^. I hose first two
\ears were. of (ourse. crucial — the hegiiuiing of
Ihe assimilalion of Cidiisjn whieh a|)pears in the
su((essive versions of thr Still J.ifr jrit/t Ciuner
Pol. I Ins series represents a hreak, a point of
departure. and nuist. I agree witli the current
exhihition (atalogue. he dated 1911, rather than
1912 as Midiel Seuj)h(M argiied in his reeent
hook. (Seupiior also, with sid)slainiating evi-
deiue. retards .Mondrian's arrival in Paris initil
1912. as against 1910.) Ihis firsl series. like
hloweriniT Irec and Coinjtositiou of 1911, which
were followed hv the Sea nud Pier and Oeeau
series. take their phne wilhin the ehorus of
(-ul)ist painting and arc aniong the greatest of
their kind. Ihe speed. the alacrilv with which
Mondrian seems to ha\e grasped the lessons of
.\nalvli(al Cjihism. the ease and the rigor with
14
whi(h from the fiist he manages. hy iising ihe
soher shinuiier <»f the dassital Cuhist palelle, to
<l(hne and lelale interhuking and reteding
|)lanes to ilif Ihn (aiuas siufaee, express the
liheration whidi Mondrian (whose own wotk
had ahcath e\ol\ed in this direetion) found in
(inhism. W e ha\e a detaiied (oidirmation of this
in the small eomplementary show of pre l!H I
.Mondrian at the Daniel Cordier gallery. Ihx
are some lifieen of Mondrian's earliest woiks—
(har(()al sketdies. suhdued landstapes in oil. and
sironglv arti(ulaled groups of chry.santhenumis
aiui(ipating. hut only just ami(ipating. the for-
mal (laritN of Ihe tree studies in the laig( r
exhihition.
Mondrians palette suhsrtpjeiuU hetame moie
personal in siu h pidmes as the ()v<d Conilxni-
lion of 1914. and hv 1917 the dominam pinks
and hhies are pul to the servite of a struetural
lad and elegante. de\eloj)e(l owr the \ears of
Cuhist adi\il\. to picdute the first "chesshoard"
pidures. whose mo\en>ent and measuretl rliNthms
of hright. pretise forms antieij)ate his last \ew
^ork Boogie-\\ (K)gie paimings. Ihe 1917 line
(omposition on \ iew is dearlv an outgrowlh of
the pier and sea studies. in whidi dots and inter-
erossed dashes pla\ ahoul the teiiter of gra\itv
estahlished l)\ a deepening of value intensity
elfeded l)\ (omeiüralion of these forins— an in-
dired adaptation of an engraving tedmitpie.
From 1920 on. of comse. the developmeni is
slowcr, more gradiud. For Mondrian. Xeo IMas-
ti(ism was, among other things. a relentless. pa-
tient attempt lo define the limits of painting.
and the series of \eo- Plast i( works. whidi aie
extremely well represented here— in fad rightiv
form the eure of the exhihition— show a steadv
progress until 1942. when theie oedus the ex
iraordinary leap to the higher-keved. faster-
temixied Hroadieax liooiiieW Ooirie.
One tomes awav from this verv great exhihi-
tion sohered and dated. and with of eourse that
feeling of ama/ement that genius always inspires
— at the (laring, the palieme, the remarkahle sus-
tained energv of Mondrian's (areer. the steadv
seardiing. the ( ontradit tion. the hrilliant reso-
lution. And one wonders at the distindly meas-
ured atdaim of the piess (Chastel of l.e Moude
and his moie adNemurous (olleague at Combat
seem lo agree in an and)i\alent feeling of re-
sped and uneas\ adniiration for his ".Moral
Fxample") . Sudi reseixe seems to derive from a
gciieral waxeof antipathv here, generali/ed sinte
Ihe war. toward the explieitly intelleetnal in art
generallv. towaid ralio( ination in literature and
what is (onsidered extessive formalism in paim
ing— a readion. perhaps. against the native rigor
of the Cartesian tradition (or, one might add.
the philosophi(al \idories of (lerman ideas as
well as (.erman melhods of philosophy which
ha\e hecoinc the donnuant intellectual inflnente
in |)ostwar Fran(e).
Till, readion against intellectualisin of cour.se
is nothing new. as the current Dada retro-
si)ective forcihlv reminds iis. One enters the
(»alerie de riiistitm to fmd oneself in a nmse-
um rather than a "show." Here is the anti-ration-
alist insurrcdion institutionali/ed. ahstracted
from context. In (ases and on shclvcs lic the
"readv-madcs." the "Ciift" (a spiked iron) of
Man Ray. the provocative invitations of the
movenient-all of thein agcd and touching. One
I
m «il T* X ■+ I ■ ■' ■ ■ "^ !■ ■ ■"
r'|i+f i-f. I. £| 1- u ' -»„i •-
lUlTi'J-i i" • ■."i'i-4.'||t|"f'
M J^
I ■ '■ 'i •■!
I ■'••-' l-,_f- /'ti", l-,l-
H ■ I -
tt
I
I
'.■?;«*>&v-ii;i;:V:>":>:-<Mi^.';^.;r
p.^■:■?:^:":■"'•■■ :'■''■;>;■?»:■ 5^; '^^^ ^. S=?; fif^-r-^
Mondrian, link (.omi-osiiion i /<J/7 ,, ml/micn Kmllrr-M ül/rr Museum: at thr C.ahnir Druisr Hrue
pauses in deliglit hdore legendary ohjects: l)u-
champs mustached Morui Lisa, the "Ohjet a
Detruire. Pitahias and Rose Selavvs camera.
Ihe aimosphere is all nostalgia and admiration
for the ea.se in whidi this giltled geneiation func-
tioned. when siiddeiilv one is pre(ipitated from
the plane of history lo that of art: tliere are h)ur
Schwitters Mrrihildrrs, striking a note of unitpie
elegame and origiiialitv. Fooking hof)efullv ahout
for oihers. one does conie uj)on two Arp rdiefs
of 1917, [)()werful and original, and two sliglit
Riditer drawings in colorcd pencil, surprisinglv
fresh and vivarious.
Ihis period sliow is etlioed in the huge (ol-
ledion of plioi()gra[)lis a.ssemhied h\ the I. C. A.
in London and f)resenle(l in Paris at the Ij-
hrairie Fa Huiie hv the maga/ine L'Oeil as
"Picasso Lui-Memc." One follows the hiographv
from Malaga lo tlie Hateau Favoir and througli
the Rue des Cirands .Aiigustins to the \'illa Cali
fornia. Lovers, tonipanions and friends. Dadaisis
and Surrealists. Cuhists and (.onstrudivists weave
in and out of this unprecedented hagiogiaphv.
I his conslanllv pliotographed man knows how
to look hack at the camera. 1 he demonic eye
confronts the lens with tlie calm. natural mas-
trrv of the Lion as lainer. No lens is his inatch. Hut
the major Picasso-or the real Pica.sso-exhihition
lies four amnidissernents away. Ihe newiv of)ened
gallerv of Fouise r>eiri.s (Kahnweilers) on the
Rue Monceau is the first reallv large-scaleattempt
to create a tnodern gallery sinr e the war. Rather
than insiall wall-to-wall car[)eling and a compro
inise lighting systeiii in a remodeled hotel par-
tuulier. the Leiris gallerv has wailed to accpiire
premises fit for a collection of modern masters.
Ihe gallerv is large. with a flexihle lighting svs-
tem and a simple, eflective series of movahle pan-
els which allow pidures to he i.solated orgrouped.
Ihe onlv major delecl is the proximitv of the
liK\%/May 1951
oflice stall to the exiiihition aiea. One medilales
(»n Picasso to tJu' rhvthm of tvpewriters.
Ulis opening show teils us what Picasso has
heen doing in the last two vears. One is Struck
to hegiri with hv Ihe osci Hat ing movement helween
Bracpie and Matisse, the need to re-pose and
re solve certain (onimon pr(d)lems in what is, of
eourse. a still dominantiv personal stvie. In a
series of Ateliers dom- in (old white, giavs and
hlues (with the greeii of palni trees seen througli
i)ar()(jue-frame(l Windows), there is a progres
Mon hackward from an extravagant use of ara
hescpie toward a reduction of h)rms to piain.
Hat areas of color. In some the eve is conslanllv
solicited to read througli the detail covering
each s(piare indi of canvas. so that in one paint-
ing the tension which sliould have heen created
l)N the wildlv curving Windows that endose the
Irantic s(ene. rather like a pair of drunken
parentheses. is ct)mf)letelv desiroved. Fliese proh-
lems are resolved however in Scated Odalist/ufs
and \\()T/iaii in Atelier and in a splendid \ude
slung diagonal In across a gardeii s(ene: here
"woman" is liealed in white, cold hhie and
green. in a series of massive cahodionlike forms.
Ihe impression of weiglit and movement is
extraordinarv even for Pi(asso's recogni/ed mas-
lerv of large Clements.
Maeght this month is sliowiiig a numher of
Derains drawings. Ihev were assemhied hv
Madame Derain afler her liushands death and
are i)iesenle(l untitled. undated. and tlutcfore.
I presume. uiuataloguetl-as slie found ihem.
I he drawings are almost uniformlv siatessful.
allhough in various wavs. Miete are landstapes
and manv nudes in chaicoal and in f)emil. these
last executed with a verve almost reminiscent of
Ladiai.se. What distinguishes tliem ahove all.
however. is an infallihle seiise of misr m jxure.
One line drawing of a nude is splaved out diag
onallv against the page in an attitude <»f auio-
cr(Ui< ahandon. her legs and one arm dividing
tlie |)idure späte in two large heautifullv re
lated areas. Mondrian. oue feds. would have
appretiated this. f here are also a few ptntiied
landscapes in whidi the lines. used uitli strid
e((»nomv. at t as iiitisions wliitli seive lo aititu
lale Ihe white spate of the paj)er work ihai
allows a glimpse of the formalist mau<jU( .
Onlv a Iew tloois awav. at the Ftxus (aire
gallerv. is a i tt rospet t iv e of \ illon's eiigiavings
<'•"'"« ''<"" Hdl to \'.)-k\. As iu ;,|| (.|'\i||,,M-s
sln)ws. tlu- ainK.sphere. the eilet l generated, is
of somelhiiig uol onlv hantlsome. hut exempjaiv.
One is reminded ol this (»u prtKcetlino i,, ||,,.
Miist-e dXri Moderne, where in a large shou ol
"Fa jetiiie (.ravure (oniemporaine " there are
'<»«n «>l ilic plales Oll tlisj>lav at (aries. It
wt»ultl. of tourse. he unfair lt. jutlge aii\ ol ihe
artists representeti in the large miiseum group
agiiiiisi Ihe \ illon relKispet I ivc. I here ;iie. iiow-
cvei. .1 large nuinhei ol at t omplislied plales
manv ol whitli. like Fi ietllaentler's dhe exhihi-
tion is t)hvit)uslv misnametl). to take hui tmt ex-
aniple. go ou hom vear lo veai. heing jusi iIku
anti pt)sing nt> prt)hlem eilher h)r ihe ;irtisi oi
the Viewer. I here are two large Itncigii ton-
tingents. |aj>anese and \ ugoslav. Manv ol ihe
latter are toltn wotul hitxks. and liiere are
lilht)graplis hv jt.sip Restek of /agreh whitli
have Ihe sumptutms chic, am! not mutli more.
-d Claves illust rat it)ns ol Rahelais. Ihe japa
nese tome t.ff rather well tethnitallv. althoiigh
what is hati lentis to i)e tpiite hati intleetl. 1 he
tt)lor wt)t)tltuts lauge hom talemlai and tliil-
dreirs-l)t>t»k stvIe t<» ihe ease antI sophisiit alitm
of earlv Mtuherwell suggesleti iu Kaw;mislii's
/irorauteur.
Hut the lesst)!! of the \ illt)n exhihiiitm lies iu
his lefusal It) he titxirinaire. Ins tt)nsisteiit de
sire to re-pt)se prt.hlems tm tlilferent levels at
tliflerent times. uitl his ahilitv tt) assimihue and
niasier the past. In L'll<>)tnnr li.saut i l!>,-.:i). ihe
npwartl mt>vement t)f planes, whitli rise in a
slight Ihreat t)f disetpiilihrium iowaitl the heat!
whidi is the onlv figurative area of ihe pitlure
(anti ft>r that reast)n. lieated less insistenilv and
mt)re suggestivelv than the rest). is (onstaiitiv
related tt) the etiges ol ihe Irame. In / r Phihr
sophr d9.M()). we have Daumier seen in the liglit
of Analvlital Cluhism. Mt)re insistentiv edifving
is Antirt- Fht)te. who is shouing a large grt)up
t)f tanvases antI st)me uaieit t)lt)rs al ihe (.alerie
(.alaiiis. Here, as alwavs wilh Fliöte. oue gets a
sense t>f all the lesst)ns leained and applied, ol
the line reteptive stutlent wlit) hetaine tlu tuas-
terlv petlagt)gue. Ihe walerct)lors are al!nt)st
vvitlit)ul exteptit)!! rigt)iouslv Ct'/annestjue aiul
(jinte wiihtml extcptit)!! heauliful aiul siittess-
Inl. Ihe tanvases represeni v ai v iiig degices ol
svstematit a|)plitatit)n of ( uhisi tousinu i i,„, ;,,,d
Fauve tt)lt)r. a kintl ol elahorale svuihesis t)l a
whole area, t)r iA two. perhaps. Ihe hrilliani
warm coltirs in ihe lantlstapes. ihe vellt)ws. pur-
ples. pinks aiitl hlues wiiit h HomianI lusetl iiitt)
a kintl of paratlt)\it allv told lighl. are here used
to rett)iuile the real tiepth with ihe Hat pitture
|)lane. In I a Loire a .\euill\ (1922). a hallot)!!
antI Iwo Hat lloals swt)op wilh unexpet led tlv-
namism t)ver the eiitrance tt) a suhurhan fair.
I)ni sei t)ue wt)ntleiing what. for exainple.
Fapittpjfs wii antI verve. as seen iu ln\ "\'ene-
tian ' tanvases this vear. wt)ultl have tltme uitli
this. In Cöte froide d Miraude (192:5). IhtUe
Ilses pliimdike forms in green. hhie and vellt)w.
(urling vet Mal. tt) give an nnpretttlenletl. rt)||
ing mt)vemenl tt) ihe lautlstape. Ce/anne. ihe
Fauves. |u;in (.ris. Delaunav antI (.auguiii are
all assimilaleti aiitl lusetl. if iit)t tränst cmled;
rigor. mt)tlestv. high serit)usness antI civ ili/at itm
latliale frtmi the ft)ur walls t)f the gallerv. I he
paintings. if nt)t tlie water(olt)rs. have a "signa-
tnrc": this is iit)t tpiiie ihe same thing as a
unicpie \isit)n. of eourse. hut it is a great tleal
neverlheless.
15
LPublic CAuction in [P(
Goniinissioner-Appraisers
Me. ALPHONSE BKLiJKR, 30 Place de la Madeleine
Me. ETiENNK ADER, 6 rue Favart
Important Collection
of
OLD FAIENCES PROM ROUEN
Some wilh cjchre bases
Old Faiences and Porcelains
Paris, Saint Cloud, Sevres
Pair of Chinese vases in porcclain fruni thc Kang lii [K^riod
ART and FURNISHINGS
from the period of Louis XIV
bronze equestrian statue of l.ouis XI\ fioni the 17th Century
pair of candelabra and salon furnishings
froni the period of Louis XIV
F^\I^TI^Gs by largilijrrf and monno^ er
TWENTY-ONE DRAWINGS hy RIGAUD
\ levvs of the Chateau, Lj:ardens and groves of X'ersailles
From the
GOLLEGTION of Monsietir jean hlogh
Experts MM. G. and T. cathol x
DAMIÜOT, LACOSTE, PROST
Säle Tuesday, iMay 21, 1957 at 2:30 p. m. Public exhibition Monday. May
ans
Goniniissioner-Appraiser
Me. ETIENNE ADER, 6 rue F'avart
OBJECTS OE ART and EINE FURNISHING
OF TUE ISth gentur^
OLD porcelains
China — Marseilles — Saint Cloud
LACQUERS
SEATS and FURNLSHINGS
stamped with the niark of master cabinetniakers
Garnier— Jacob— Mantel— Riesenter—R\1A'—Satuiier
sonie having furnished the study of
Me. LOUIS VIGTOR PUIFORCAT
and some from other collectors
Experts: MM damidot, lacoste
20, 1957 from 9 to 12 and from 2 to 6 and from 9 to 11 p. m.
Gommissioner-Appraiser
Me. ETIENNE ADER, 6 rue Favart
PART I
GOLLEGTION
of
S. A. PRINGE ALV KHAN
MODERN PAINTINGS
WATERGOLORS— DRAWINGS— GOUAGHES
by Bourdclle, Corot, Derain, Dunoyer de Segonzac,
Pascin, Renoir
BEAGHES and SEASGAPES by E. BOL DIN
Self'portrait by EDGAR degas
Works by raoul dufy, maurige utrillo,
MALJRIGE de VLAMINGK
Experts: MM jacqües dubolrc;, pacitti
PART II
Modern Paintings
Drawings — Watercolors
by Boudin, Corou Dclacroix, Lebourg, Picasso,
Pissarro, l'trillo
From various private collections
Säle: Thursday May 2Z, 1957 at 2:30 p. m.
Public exhibition Wednesday, May 22, 1957, from
9 to 12 a. m. and from 2 to 4 and from 9 to 11 p. m.
SALES: (;alerie charpentier,
76 rue du Faubourg Saint Honore, Paris
Eor all Information write to: Me Etienne Ader, 6 rus Favart
Paris (2«)— Telephone: Richelieu 71-98
GALERIE de FRANCE
3 rue du Faubourg St. Honore
PARIS 8e
Anj: 69-37
ZAO-WOU-KI
Recent Paintings
CIIICAGO^S NO- JURY I^XPKRIMILXT
Thc No-Jury Exhibition at Chirn^os Kavy Pier,
numberinff ovcr two thousnnd cntrics, nndcrscorcs a dcprcssina
conjusion bctween thc nmatcur and thc profcssiofujl.
Eleanor Coen^ r.RowiNr. crrv.
BY ALLEN S. WELLER
THE vast Chica.j^o Artists No-jury Exhibition is now a matter
of history, and ptrhaps thcre has nevcr becn anothcr event
likc it. It is ccrtainly not oftcn tliat onc secs in one place 2,671
works of an by 1.5:^4 diüerent artists. It took just about tTiree
hours to walk througli the lui.ge exposition rooms at Navy Pier,
withoiit ever stopping to study an individual work. Unlikc all
other no-jury shows l have heard of, this one had lots of prize
nioney-$8,825 of it-as the Art Institute devoted all of the
funds earmnrked h)r the usual annual juiied C:hicago and
Vicinity Show to this one. The nioney wem into twenry-seven
awards, and the pri/e-winning works, plus about twenty-five
others, will he cxhibited later in the year at the Art Institute.
The awards were deterinined by Xavier Gonzalez, Daniel Cat-
ton Ridi. Joseph Shapiro, Mario Ubaldi and John Walley.
Ehe Show was a trenicndous succcss in terms of attendancc
and enthusiastic loral newspaper (overage.
I am sorry to turn in a minority rej)ort mvself, but it is not
just because of sore feet and an aching ba(k that I liave
WK\%/Mny 1957
grave doubts about the (ultmal valuc- ol such \ast free-for-alls.
My own feeling is tliat wiiat we need in the world of art today
is more selectivity, not less. I know tliat therc lias been wide-
spread rriticism of the basis of selec tion in manv national and
regional shows. and 1 am wiliing to gram that ihere may l)e
manv different vah'd Standards from wliidi works of art mav
be judged. but 1 find it liard to l)e svmpatlieiic with the idca
that positive values (that is. positive csllirlu \alues) emerge
from such incbsc riminate e\hil)itioii.
Belore the sliow opened. I think there werc- a good manv
people who feit that j)erhaps it woiild l)e a good thing h>r
thc publie to see what the juries of the (ihicago and X'icinitv
Shows at the Art Institute ha\e l)eeii looking at and reject-
ing h)r years, and that perhaps tlicv wouhl as a result have
more imderstanding of ilir job tliese juries have done. Unh)r-
tiuiateh, ihings didn't work out this way. I am afraid that
great munbers of people were coinpletely delighted with thc
iiiany unreali/ed or pretentious or eccentric or amateur objeets,
17
I
c iiK ACio'js xj-ji Rv i:xpi:rimi:nt
Kwok Wai Lfm, v\\\\\\(. i-(-4.
i'Mcl iHccptrd tlu'in ;(II ;,s •':,ri.- I ;,m üln.id th;it ilu'iv was
itnotlicr -roup uliidi ( ;mu' ;ivvay Irclin- Tvc aluavs thoiiolu
wrrisis uvrc (la/y, and this piovfs it." I (aniioi luliiNf thai ihc
sj>rra(l ol diese i(le;is is oood lor ilie cause ol a serious or
re.s|)()nsil)le (<)nteni|)()rarv artistic niovemeiu.
J he jiiolessional Chicjoo iutists responded lo tlu' no-jmv
show superhJy, and were re|)reseiited in Ion c. Ihere weie
niaiiv exccllent thin-s. and I liave tlie inipiession ihal ihe jmv
did its Job well ;md ilial die sniall seiet (ive sliow uliidi ur will
See laier at ilie Art Institute will he a ^ood one. Ihe top pi i/e
ol .S|.:)0() was oiveu to Kleanor Coen's (hmrin<r r;//v. a lluent
and sensitive ( oniposition. ori^anic and sopliisti(ated. Pi i/es of
•Sl. ()()() and S7:)() went to Robert Anderson's Yrstrrdaw Today
und r(>ni()rrinL\ a well-eoinposed eolla.oe. with lihns ol delieate
e()I()r on transparent surhues, to kwok Wai Lau's Painting
l-C-L a dark abstiad landscape iheine. with elledive llashes
of ^old and brown, and to Ridiard Hunt h)r bis inia<^inative
welded Strt'l lilonni, \o. 10. l>ri/es ol .SjOO went to^lartsl.
Svlvia Shaw Judson and l'na Hollands h)r works wliidi in
cacli (ase were sueeessiul. and whieh will add dist iiu lion to
the later seiet tive sliow. Ainono the inanv otlier pri/es. I b)und
James Walker's (olla-e. Crrallon nf Ex>c, parti(ularlv oood.
with its eurious inte-ration ol old objeets and new movement.
Hut the o(>o(| works were so overwhelmed bv the bad. and the
numbers \vd to su( h eoniplete mental aiurvisiial exhaustion.
that it was a struggle to see tliem.
VTi r the show was enonnously iidormative. and I wish that it
J. mi^ht have heen serioush analy/ed Irom several points of
View. We would know niudi niore about the ideas whidi are
nnllini» around in a sort of vast -eneral publi( sulxonsc ious-
ideas about lile. ideas about art-eould su( h a so( iologital.
psvdiolooieal and statisti( al analysis he niade. Wliv. lor instante,
are there many inore (ats than doos, ;,„d roinparativelv few
MarlyU uimik s( im .
Robert James Anderson, \\st\r\)\\, iodav and iomorrow.
James W alker, crfation of e\ e
IS
goats.^ Main ol the eats are looking out of Windows at lainy
strcets; several ol the dogs are looking at birds. Why is the
niotif of rearing, fighting horses so populär? (So are largc
horses' heads.) Apparently the grcat populär heroes of the
nioment (judging by amateur portraitists who have no hesi-
taney m painting portraits of people thcv have never scen) are
the Pope, Einstein, Toscanini and Vul Hivnner. Dead torea-
dors m sharp foresliortening are also eurrentlv populär Idiere
was an enornious aniount of "loniantic" landstape (mountains
snow seenes, seascapes), a large amount of embarrassinglv bad'
sickeningiy sentimental iinitations of niail-order religious art'
niany eoinpositions built around the idea of reaehing Iiands'
lots Ol illustrations of seience fiction, huge numbers of piroii-
ctting ballerinas and eircus pictures (all downs are sad and
most Ol them seem to be watehing aetidents on the high
wires). One (an only be ania/ed at the braxerv of amateur
artists in their tackling of the most tremendous tliemes: the
number ol "eosmic" coiueptions, apparentiv with vast symbolic
impluations, was inipressive. Ihere is soniething depressing
about the idea of melting a piece of plastic, al'lowing it to
drip down over a board, and tlien labeling it *\Soul." Ihe
relative easiness of modern sculptural tediniques (insecure
welding. synthetie inetals, painted plaster) has given rise to a
whole sehool of makers of tinv grotes(jues. I saw niaiiv wiry
inserthke fornis. usuallv (reeping in a sinister fashion very
close to the floor. or eise lalling on each other in a rather
savage way. Ihere was also a eonsiderable number of small
scjuatting plaster iiudes, usuallv lirmly planted on enormous
tcet. Amoiig the ''advanted" artists, die influence of Marca-
RcIIi and Kline was strong. 1 he usual Joker had attadied a
fake sign giving a thousand-dollar pri/e to a fircplug and hose
m one eorner. Several artists had discovered the fasdnating
motif of looking at their own feet. There was mucli work
whieh can only be called 'nioderiiistie." Scmie of tliis was
ARTS/.Uriv 1057
painted on eorrugated (ardboard. at tiines with ccllophanr
used not as wrapping, but as part ol the labri( of the composi-
tion itself. There was srulptuie in soap, and a (onstnution in
lump sugar. A special studv niiglit be iiiade of the remarkable
painted frames. Ihere was a (()iisi(leral)le pornogiaphic ele-
nient, of course, to be seen in the work of a group who paiiit
female iiudes in strong, raking liglit. thus cieating remarkably
powerlul shadows. Sudi a survev of what iiiight be called the
populär subconseious shows that it h)llows cjuite delinite pat-
terns. Indeed, it is alniost Irighteningh legimented.
It is obvious that a tremendous number of people derive
a peeuliar kind of satislaction irom seeing their handiwoik
on a wall in a public place, even though tliev know that it is
there through no recognized nierit of its own. But there is a
danger that many of these people, as well as many visitors,
will make no distinetion between serious work whieh is the
result of intelligent discipline or significaiit intuitions, and
activities whieh are simply enjoyable pastiiiies. Our great dif-
ficulty, in the field of ait, is that we no longer clistinguish
between professional and amateur. Ihere is no other lield in
whieh WC wi\ up the two in anything like the saiiie wav. Ihe
amateur athlete who plays a game h)r fuii o\er the weekeiid
would never dreani of appeariiig publidv in an exhibition
matdi with an Olyinpie champion. any nioie than 1 would
think of issuing a reeord of mv plaving ol the piano. But be-
cause ol the fact that iiiaiiv ol the nineteenth-cc iiiurv artists
whom we iiow adinire were disniissed i)\ the academic: critics of
their day as ineompeteiits. many amateur painters today think
that tliey may be iiiisimderstoocl geniuses as well. Ihe public
exhibition of great numbersof works whieh would auiomatically
be exe luded by anv jury Irom a show todav may consequently
be highly misleading, and mv bar is that it mav give thou-
saiids of people an utterlv incorreet idea ol what coiitempo-
rar\ art is all about.
19
SCULPTURE AND
BY DAVID SMITH
ScriPii RK. has Iroin llic csiluiic poiiii ol \ icw sIküccI
litlk' uitli architc'duic al any tinu' in oui cciiuuy.
Its vision, ((.( hiii(s, j)r()clii( lion aiul tlu* ( haractcr ol tlu*
nun who (()n(C'i\c' il aic (jnitf (lilkrciu iioni thosc ol
ai(hitc'( iure. Aiul vct xoii can still read and hcar tliat
tlicy aic ic'Ialt'd and tlcpcndcnt, oi ihai cach iiccds thc
otlu'i' in ordcr to luHill itscll.
riu- souKc ol tliis nn'scoiu c'j)ii<)n is thc art historian,
Avho has linkc'd sculptinc and ai(hiU'(linc togcthcr loi
all linic- by (citain niislcading gcncrali/atioiis whidi
cvcryhody has tonic to bclicvc— c'\cM\l)od\ c\(c*|)t sc ulp-
tors and ardiitcc ts.
S(ul|)iinc' in oui (cnturv has becn nmturcd on total
liccdoni. 11 it has bccn linkcd with architcctmc, it is only
by ein unistaiuc. Ils csthetics is shaicd only by painting:
thc two havc bccn intcK hangcablc (onccjnually and pro-
diK ti\c'ly sin(c (ad)isni. Hut ncithci j)ainting nor sculp-
turc has bccn hclpccl by architcctmc.
Are hitcc iure has conic c lose to thc point ol bcing thc
prodiKt ol a (ollcctixc ol cnginecrs and biisincssnicn.
Ihat part in it which is dcxotcd to "cnibcllishnicnt" is
oltcn ruled bv c id)ic-lcx)t cost; thc niarblc and bron/c that
wcrc once scid|)turc no\v Foiin walls and thc lixtiircs ol
thc rcstroonis. Ihc c ollcc tivi/cd clicnt has acccptcd thc
aic hitcc t's collccti\ i/cd c()nccj)tion vvithout Iccling thc
nccd lor works ol art. At thc samc timc thc sciilptor has
bcconic nu))c aiitononious and individiial, l)Ut not by
(hoice ncccssaiily. Pmsuing his conccpt, lie projccts thc
boundai ics ol sc ulj)tinc in thc othcr diicction.
Thc sc idptor livcs within his cnvironnictu., crcatcs Irom
his pcisonal natinc. No pait ol his lilc, or of his convic-
tions, Ol ol his drcanrs, is on the sanie level as that on
Avhich architcctmc works.
His ciuironmcnt is piain, its walls havc cracks, yoii
asccncl by stairs. Ihc larc is supermarket, the still lilc is
in scason, the bottle is ol no sj)ccial \intagc. 1 he view
Ironi thc window is rool and chiinneys. 1 he plc'ni an is
thc Street.
Scidj)tors li\e in lolts, gaiagcs and tcncinents; a few
in Studios, a Icvv in countiy eonxcisions. Ihcir view ol
conteniporary building is IVoni thc eclgc and at cjuite a
distance. Hut Ironi them conies thc work ol art.
In the sc ulj)tors' view, the work ol art is the prodiic t
ol the labor and esthetie vision ol onc man, a \\'o\\ made
pmely lor \isual icsponse. 1 he samc can bc said ol paiiH-
ing. It is a Iree ancl indi\ idual ai t, without outsiclc relcr-
ence or compromise, Ironi origin ol \ision to c()mj)lction.
Hic sc idptor camioi turn cication on lor a clcmand
outsiclc his naturc. Along with thc paintci, he has workcd
Ironi j)crsonal choicc lor a himdied ycars.
In this Century ancl this countiv the ereati\c' position
has changcd lor both the paiiHcr and srulj)ioi ; pait ol
that position haschangccl dming this clccadc. Artists havc
won battles lor indepenclenc e, and they no longer Icel, at
leasi not in cjuite thc samc anguished way, thc neecl to
bc lo\ed l)v the public . Ihcir oj)inion, c\|>resscd without
Organization or mctliod, cveniually dctcrinincs art taste.
1 hcir (iv(i}it-a:(i)(le discovers and rediseovers nierit belore
thc coimoissems arc aware ol it, and elevates its own pref-
crcncc's, which c\cntually accjuirc legislative lorce.
Ibis is a Situation that artists thenrsches still do not
grasj) coniplctely, that art historians arc not comlortable
with, ancl which is altogcthcr rejccted by thc architect,
who sonichow Icels shclterccl by the myth that he is the
lathci ol US all. Mowevcr, the thcorctic ians— art historians
in thc niain— who aie icspoirsible loi such mvths arc clailv
losing credit as thc lormulatois ol thc rclations bctwc"cn
ai tists ancl contemj)C)iary esthetics.
Aic hitcc tural iccognition or ap])licati()n ol sculpimc
has not lurthered it by so nuich as an inch in om clay,
Ashcthci materially or cjualitatively. The aehievements,
thc imj)idscs, the great toncepts ol" om- age havc come
Ironi tlic artist alonc. I he lact that no c ontcmpoiaiy
scidptoi or painter has ever done anything on an arc hi-
tcctural comnn'ssion that matches thc best things done
out ol his own nccd suggests a laihne ol contac t in wliat-
e\er relatic:)n has been established between the line arts
ancl aic hitec iure.
W'hen, and il, the sculptor iscallccl in 1)\ thc architect,
it is as il by an alterthought. In any case, good sculj)tmc
is not dccorative; it is not madc to lill thc sjxicc in which
the architect used to applicjuc his own scrolls ol launa
lorm.
Paimcrs havc farecl no bettcr. 1 hey havc workcd in
mural si/e since (loinbet, ancl yet in thc hunched ycars
since Inn)ressionism began, the architects havc passed u|)
manv works ol art that were on an architec tural sc aic.
Monet, Roclin, Bonnard, Matisse, Picasso, ßrancusi, (»ai-
gallo, Lamens, I.achaise, ancl Lipchit/, and a hmidied
othcr modern painters and a clo/cn cjther nicjclern sc id])-
tois, havc had their luU-scale works go imnoticed
bv architects. Vhc latter have generally connnis-
sioncd artlcss anccclote. Onlv raielv ha\'e thev commis-
sioncd art; oltcncr, thc architect has designccl his own
sid)stitute. To get (irt, architects will have to |)rej)are
thcmsclves to take scul|)ture on its own indcpcnclcnt
merits. And they will have to sid)oiclinate their own egos
to the extent ol jK'rnhtting thc work ol scul|)tme to re-
late itself tcj the work ol architcctmc as onc ccjntem-
jK)iary autonomy to anothci, in a rclationshij) ol esthetie
strength and Joint cxcellcnce. Tiiis is up to the architect,
not the sculptor, and mitil the architect accjuircs thc
nceded hmiiility, the two arts will remain thc strangeis
thc\ havc long bccn to onc another.
20
ARTS/Ah/v 1957
A R CHITE CTURE
BY SIDNEY GEIST
Tr Ol c;ht to bc cpiite clear by now to anyone interestecl
^ in the themc that conteniporary sculptme and archi-
tecture have nothing to do with eac h othcr. It is not only
that sculptors do not design lor architecture and that
architects rarely call upon the Services ol sculptors, bat
that the very lorms, means, mcthods ancl cncK of the two
clisciplincs arc divergent. As against the nnexamplcd
exuberance ancl variety ol h)rms in scidptiirc, we have
an ever-stric ter sameness {ov so it seems to sculptors) of
recent architecture (in the Tnited States, anvway). As
against thc incliviclualistic ancl personal that prevail in
scnlpture we have the moilular and iinpeisonal in archi-
tecture. Thc sculptor oll 'is a siatcment, thc architect
provides a place (which is more often than not an
object). The economies ancl w^orkshops ol thc two arts
arc at oj)positc cnds of the soc ial world.
W hat, then, is the mcaning oi thc recurrent laising c:>f
the issue ol thc imion ol scnlpture ancl architecture? Is
indccd such a union possiblc, necessary or even worth
whilc at this moment, and il so, how?
\\1icn the issue arises among sc ulj)tors, on the onc
hand, it arises onlv too oftcn Irom a clcsire Icjr scll-aL»-
giandi/cineiu: ancl this desire hides behind the senti-
mental it\ that even bacl sc uljUiire is to be preferred to
none, and more scnlpture io less. Lec's face it: some
j)laces arc bettcr olf without sculptme, and nuich scnlp-
ture is not lit lor the rough-and-tumblc of the architec-
tinal Situation, riien, too, the desire lor public sculptme
is often the projection of a vain historicism. Scnlpture
in thc past, goes the argument, was always integratecl
with arc hitcc t ine; why not now? The answer is simply
that the conditions of past integrations no longer ex-
ist, and that when it is made to appear that they do
exist, historv does indccd repcat itself in the form of
comecK. Historv, in this case, can teach us onlv that we
can ha\c no othcr than om own. We must make our way
within Olli own situatic^n. (If this souncls like laissez faire,
it seems at the moment the only way to preserve the
süvoir faire of thc modern sculptor. No onc wams to
modilv his stvlc, or ck\sign moldings ancl dooi knobs.) And
of coinsc a Situation can always be changcd.
W'hen, on thc othcr hand, thc issue of thc sculpture-
aic hitcc tili c rclation c rops up among architects, it is
oltcn duc to bacl conscience, which is also |)artlv the
result cjf traditionalistic thinking. Havcn't we left sc:)me-
thing c:)ut? Does every architectuial moment havc to be
like every othcr? We ha\e adapted so many ideas of the
artist; (ouldn't we go to them directly? Ihe answers to
thcse cpicstions ustially turn cjtit to be no, yes and no.
1 he emptiness and sameness persist, ancl the architect
turns to the cngincer and thc industiial clesigncr lather
than to the artist. As a result, modern architecture has,
it cannot bc clcnicd, a c larity of style; also, it salisfics thc
economic ecjuation, ancl it works. But at a great price.
Bacl conscience turns to fear, and fear indulgcs in ex-
cesses as architecture Icaves out more ancl more in ordcr
to maintain its identitv.
Whilc it is barcly conceivable that sculptors might
collaboratc with architects in thc desio-n of buildiniis, it
is conccivable onlv in thc rarest instances. Such a col-
laboration is certainly some timc oll and woulcl jnoduce
a new architecture. In thc icalm ol thc more possible,
howc\cr, it does seem unncccssarv to call uj)on scul|)tors
to aid in thc decoraiu))! of architcctmc, since most of
the traclitional j)rol)lems and solutions arc no longcr
j)ertincm or intciesting. In any case, such a rclation is
not likch to adcl auMhinü to arc hitcc tural st\ Ic* at this
jjoint, \\o\ is it likely to prodiicc good sc ulpturc or c\cn
scnlpture as good as that which the sculptor ordinarih
makcs lor himself.
In \ icw ol thcse lac tors it uould a|)j)car that a union
of scnlpture ancl ar(hitcctuic is not casiK possiblc oi
even necessary. l'hc two can go and arc going their sej)a-
rate ways. It remains only to ask, is such a union worth
whilc? Is it, in thc face ol logic , economies ancl clillcring
esthetics, worth whilc to incorporate works of art in
architectural settings? It would seem so as long as the
issue arises in any sericjus cjuartcr. Bad icasoning ancl
l)ad conscience aside, scul})tinc ancl architecture still
call tcj cach othcr as if by a primordial urging. I he im-
jicrsc^nality of the materials of architcctmc asks lor the
sense oi toiich which the work of art pio\ ides; thc work
of the band is transitional bctucen thc building and its
user. As lor the contemj)oiary Situation, modern scnlp-
ture has not bccn tested in the street, so to sj)cak; ancl
modern architecture, h)r ils part, would do well to ic-
lieve its nuditv.
UNDi.R thc Special conditions that pcrtain, whai rcla-
tion can be established between sc ulj)iurc atui archi-
tec tinc? I he only prac ticablc onc that can bc cn\ isagcd
is a rclation of juxtaposition or a|)j)osiii()n. cxcn to thc
extent of diHercncc ancl coiuiast. (.i\cn thc contem-
j)oiancit\ of sculptuial and aKhitcctmal moclcs, such a
rclation would not bc as violcnt as onc might think. Bc-
sides, it could have becn expected that a iicw scnlpture
ancl a new architecture would bc in a new rclationship.
W'c arc at a point where thc \cry lorccs that sent sc ulp-
turc and architecture down dillcrcnt roacls can now be
concci\ccl as having them mcct again, il not in thc old
relations ol intcipenctration, collaboi ation and integra-
tion, then \\\ thc new onc of (omplcmcmarx dilfercnce
ancl (ontrast. (I his cllcc t is ohscrvablc in thc political.
( (/fififiued on paue hl
21
Januar y\ 1953,
INTllOÜUCING ROGER HILTON
BY PATRICK HERON
WHKN I first bcgan to writc for ARTS, al>()Ut two years ago,
one of niy ambitions, pnx laiiiud in mv first artidc, was
to pcrsuade an American aucliciice tliut tlicrc wcrc a nuniber
of younger paintcrs working in England who were already
making a contribution to the art ol our tinie whicli was com-
parable in iniportance to those far bcttcr known dcvclopnicnts
taking place in Paris and New York. You had already niade
the acquaintance. of course, of a sniall selection of living
British artists. And one or two of these (Ben Nicholson, for
instance) were "exports" I thought we need not be at all
ashamed of. But there were others— roniantics, niostly, both
decorative and illustrational— whose merit is more apparent to
minor English poets and literary journalists than to anyone
who shares in those internationally accepted values that inform
the plastic arts.
I must say it seems to me likely that, comparcd with England,
the United States today possesses an impressively numerous
body of people who do participate in these values— that is,
they directly apprehend the plastic and visiial abstract realities
of which paintings and sculpture are actually constituted. Most
American art criticism, for instance, is superior to most English
in that it shows a wonderful instinctive readincss to focns dis-
cussion upon the palpable formal realities of a painting. rather
than (as in England) npon questions of iconography, Interpre-
tation, symbolism or "mcaning"— indecd. upon anything that
will deflect attention from the simple facts of color and form,
of design or architecture, of textural cxpression. of spatial
Organization or illusionistic (onfiguration— all of which, it
seems, are facts too simple for the English critical mind to
come to terms with. On the other hand, if thcre is an obvious
danger confronting nuich American criticism, it is that the
formal approach itself is showing signs of sprouting a new^
a(adenn'(ism all its own. It is not enougli nicrely to list the
dominant (olors in a painting. vaguely enunierate instances
of diagonal Stresses, vertical rhythms or planal counterpoint:
these phrases are mere Jargon iniless Uicy are seen to be
emerging out of an attempt to describe an actual passage in a
particular pictiire. Mere description is the begitniing and end
of good art criticism. And out of partiddar and ac uic descrip-
tion will flow all the wider references and more generalizcd
Statements that are necessary.
During these last two years, however, New ^'ork has been
able to see at first hand something of the younger generation
of English painters about whom 1 have been entluisiastic in
the pages of ARTS; and it seems that William Scott, Alan
Davie and Peter Lanyon, in particular, have been well re-
ceived. Eheir considerable separate successes (and already.
after one show apiece, Lanyon and Davie might be considered
more "successful" in New York than in London) are most
encouraging to a number of their friends, whose work is, like
their own, more closely related either to American or French
non-figurative painting than it is to those more British forms
that still find most favor with the artistic Establishment over
here. 1 hese successes have also encouraged nie to write this
profile of Roger Hilton— a paiiuer I have long believed to be
in the front rank.
On Hilton's work I have written several tinies in the past;
and at the present momeiu there is no doubt that he at last
enjoys a very serious reputation amongst fellow artists in this
country; but the fact remains that as yet he is accordecl no
rccognition here that is in any way cornmensurate with his
remarkable achievement. So I begin this tribute witii the hold
Statement that Roger Hilton is, in my view. destined in tinie
to enjc:)y an international Status as high as that of any painter
of his generation yet known to me. Such a remark as this
nuist, of course, have the appearance of l)eing either an out-
rageously biased or subjective assessment of the work of a
personal friend— or eise of sheer prophecy. I believe it to be
the latter, naturally! And I do indeed think that it will very
soon l)e widely recogin/ed that there are English painters—
Scott. Lanyon, Hilton. Terrv Frost and Brvan WHnter. for
instance— who already have the look of complete cpiality when
seen in the Company of the best painters of their generation
in Paris or New York. It is true that one never knows what is
"Coming up": an unknown genius may arise who will slightly
invalidate these predictions. But what I am here drawing
09
ARTS/Af./v 1057
attention to is something I consider to be a fact— which is that
if these younger English pairuers had had behind them the
füll machinery of "Ehe School of Paris" (numerous organiza-
tions, ofhcial and unoMicial), then I am cjuite sure that their
iiuernational Status woidcl difler in no wav at this niotnenl
Irom that ol their lamous contemporaries in France— Soulages,
Manessier. Poliakofl or Riopelle, h)r instance.
ALL of which. the American reader of AR IS niay now
nuitter, is putting the cart before the horse. Kor who is
this Roger Hilton anyway? Born in London in 1!MI. he is one
of the few English painters whose accjuaintance witli modern
French painting is more intimate and profound than some-
thing one picks up from a few visits to Paris and a habit of
looking at exhibitions of French painting in the dealers'
galleries in London. Hilton attended the Slade Srhool for a
while, from the age of nineteen; but in l^'-Jl (when he was
twenty) he took himself ort to Paris, and for the next eight
years— until. in fact, he was prevented by the war— he spent at
least half his time there, either working on his own or at the
Acadthnie Ranson. where Roger Bissiere. as a visiting teacher,
made the chief impression on him and where he recalls that
Manessier, Le Mcjal and Francis Gruber, curiously enough,
were or had been students, Manessier did not actually overlap
with Hilton it seems: but his influence was nevertheless pres-
ent: and indeed it was this influence that hnallv rec^istered in
Hilton's first important non-figurative phase, whicfi lasted from
1950 tcj 195,^, and which was revealed to the public in the first
of three one-man shows at Ciimpel Fils in 19.52.
Hilton. with his own wrv humor. his thin. tall. sli<>htlv
round-shouldered figure. his small birdlike head with its sniall,
very sharp, slightly dc^wn-turning beak of a nose that pecks its
way iiuo anyone eise's arguments tili they resend)le torn bits
of paper— Hilton hinrself would be the first to discourage the
notion that the facts of a painter's physical existence and the
historv of his personal life, his Comings and goings, his likes
and dislikes, the precise character of the landscape or town-
scape surrounding hiuL the inmd)er of his children or wives or
hats. were of mc^re interest than the pic tures he achieves.
Although I have here no intention of painting a füll portrait
of this unusual man I cannot entirely pass over the facts of his
life in writing a "j^rofile" of him. So let me briefly record that
he lives in a smallish early A'ic torian house in Holland Park,
London, where the neat grav-yellow brick faqaties of the streets
scem curiouslv brittle and the rose or yellow haze of the Lon-
don atmosphere [)resses against the elegant little window panes
in winter, reducing the spiky black branches ol a row cif limes
opposite to a VV'histlerish Silhouette ol tangled black lace. He
is married, and the father ol two young children: he reads
much, walks fast and hir, when in Cornwall, but slowlv and
little when in town: talks provoc atively and ölten brilliantly—
and not only about painting— sparing no one, great or small.
at parties, wlien he is in the mood to analyze. with aggressive
sharpness and wit. both character and works. 1 hus. a well-
known art-school prolessor. encountered at a inoment when
tlie oller of a teaching job would have greath assistcd llillon's
linances, would be told outright that he (the professcjr) had
long since forleited his c laims to be taken seriously as an
artist; a lamous critic would be told the trnth about his writ-
ing: a fellow j)ainter have his pic torial weaknesses piiipointed;
and so on — until sucldcnlv the fire departs hom this slight,
bespectacled figure a\u\ he shiinks iiiio a seil accusing silence,
feeling he has o\erdone things a little. i hen the slow, well-
educated drawl of his speech will be heard once again in a
kindlier roie— in the neutral one of the pic toi ial theorist, for, like
all adventurous painters, he is nuuh occupicd with speculative
thought about the future of painting as well as with the urgent
and more intuitive practice of the art itself. linallv, one should
record that Hilton volunteered as a Commaiido during the
war, was sent on raids to \orwa\ in 1!M(I and was captured
by the Gernians in the raid on Dieppe in 1942. spending the
next two and a half years in prisoners' camps in Silesia and
ending up with a h)rcecl march (A hinidreds of miles on starva-
tion rations before being released by the Allies in 1945.
Hn.TON says that it was not until 1950 that his first con
sistently abstract work was done: and that both Manessier
and the Scottish abstract painter William Gear were at that
point inlluencing hiuL 1 he long thin horizontal painting en-
titled simply ]anuary, 1953 (all his pic tures are given the date
Receni photograph of Roger Hilton.
23
iXTUoDi ( iN(; r<k;i:r iiii/roN
ol tluir c'xcdilioii loi tluir solc litlc). is tlic l.isi j);iiiiiiiig
whicli Ililton iiiadc in tliis maiiiKT— thal is to sav, in thc
"inipicssionist" non-figurativc styk' whidi hv cxplorcd bctween
1930 and 1953. Aficr this he cntcrtd thc niost austiii' pliasc ol
his (arc'ci (he (alls ii liis nio j)lastic pcriod) ahandoning llu'
ii(h. solt. hiriy. iniprissionist paint smlads. thc nuihiph-iolor
schcnicsand die small Iragnicnicd loiins wliidi olicii (onsistcd
ol iiothini; niorc (otistructiontil than a gi()U|) oi bnisli hiobs,
snicars. strcaks. snmdgcs or sj>l()t(bcs ol lichlv scnsuous |)aint.
////y. l^>^'y (it is in thc (ollcdioii ol thc Stcdclijk Mnscuni,
AinstcKJain). is an cxanipie ol ihis nco-plastic style, vvilh its
Hat. alniosi bhak arcas of knilcil tolor, its rag<>C(l hnnis rc-
dnccd to liNc or si\ in nnnihcr, its (olois to ihicc oi ionr. 1 his
j)hasc lastcd nntil cailv in 195') vvhcn, conliontcd bv a lo<>ic
whidi sccnicd to insist on liic ahandonnicnt ol painting allo
gcthcr (thc prcdoniinantly spatial intcrcst ol siuh woi ks point-
ing to tlic niaking ol (onsii nc tions in solid niatcrials). llilton
rcix'llctl and svvcrvcd back into a ioini ol cxprcssionist abstrac-
tion whidi has. since that datc, bcconic dctidedly figiirati\c—
nudcs, a tat, a fishing boat i)cin<» sonic of thc iniaucs onc linds
in his work at thc prcsciu inoincnt. Dcccrnhcy, /V56, is an
cxaniplc ol this third phasc ol scnn-liii'nrativc cxprcssionist
al)stra( tion.
To RKM RN to thc iinprcssionist pcriod. and look lor a nio-
nicnt at thc long horizontal pancl ol Jauuary, 1933— onc is
inimcdiately tonscious, I should have said, of two things: a
brilliantly certain instinct for wiclding that instrinnent of
Visual cxprcssion known as a brush; and a surc intcllcttual
sduinc governing the balance of all the diverse forms— a
(hcckcrboard of reetangular patches, in whic h thc dark rectan-
gles are all di\idcd up, intcrnally, into blnnt, asymmetric
triangles, or thi(k stripes. What yoii eannot sce iroin the
photograph is the süperb color: Hilton is unsurpasscd as a
July, 19^3; collertion Stcdelijk Museum, Amsterdam,
(olorist in England ioda\. p.iitls on a((onm ol U\^ |)iolound
sensc ol tone, and partly because ol his extraordinarx ränge.
A schciiic ol his niav (onsist of Icnion. white. I)la(k and
V^enctian red: or ol (araniel brown, tenc-\crte. bhuk and
dicrry red: or of \ iolct, gray, white and einerald grecn. It is
as tliongh the light brillianty of Matissc's sdicnies were added
to thc hnr\ walnuts and khaki browns of Biacpie. Ihis (an\as,
Jununry, l^>33, h)r instanee, is doininatcd i)\ wann \cllows:
siibtlc beige-pinks, bluc-grays and bla( ks aic j)la(e(l in a
(adniiinn-ycllow sctting, thc \ibrant rcsidt bcing snnny and
(ahn. l*crhaps onc of thc niost extraordinarv (pialities ol
llilton's work is this linal (ahn whidi the aj)parentl\ wild,
cxprcssionist, gcsti( ulating sdibblcs ol brnsli and knile settlc
down into: thc eoniponcnt h)rnis inay bc llappingb loj)si(le(l,
raggcdly staring, explosively expressive: yct thc total (onligina-
tion of thc desigii has always atlded np to sonietliing ntterlv
resolvcd, soincthing fornially ininiaiulate and (oin|)lete. A
wild, destriKtivc, gawky iniagcry is subjcdcd to the disc iplines
of fmc painting.
In this carlicst, "iinprcssionist" al^stract phase llilton iiiay
be Said to have dealt onlv with what C^lcnient (»rcenbcru has
(allcd, J think, "shallow Space." Writing at the tinie ol his
show at Gimpel Fils in 1952, in whieli paintings in the nianner
ol this Jauuary, 1953, were shown, I said: "llilton begins and
eiids with paint. His whole System of pietorial tlionghi and
emotion is centered in his brush strokes theniselves. I hc
precisc charactcr, the texture, size, color, tone, direction anti
rhythin of each ragged toiidi is his niain consc ioiis prcoctnpa-
tion. And this is why hc is al)stract. I he qualitx of his paint
surface fills his conscious mind and, thus obtrnding. prcNcnts
him seeing round or beyond it to the need h)r a subject.
Nevcrthelcss, what we call *the subject' is soincthing eternallv
present in visual art. It is an Clement no conscious ellort on
thc abstract artist's part ran snccced in eliniinating. . . . thc
Janufiry\ 19^4,
24
ARTS /May 1957
nnnd nisists on linding an e(|iiivalent h)r that rcalitN hryoud
the paint whidi once was a iiudc on a bed. or two trees and
a haysta(k . . . [our niin(ls| insist on reading a double ineaiiing
into cvery graphic mark made on paper or <aii\as. So. into
Hihon's Systems . . . we iiiNoluntai ilv read a thicc -dimensional
meaning: we hnd a siibjed." And that siibjed ina\ bc said to
consist, simph, ol a varictv of lorm in space . . ."
^ I do not think 1 vvould now sav that the "realitv" the mind
"insists on finding beyond the paint" was an c(|ui\aleni ol
"the sul)jc(i" ol a figuratixc j)ainting. Ilie lad is tbai one
eannot make aiiy mark on a Hat surbuc. bv iiicans of (oloi.
which does not instantb ajjpcar to advaiKc belore, or rec cde
behind. that sinlacc. So the surface ol a (an\as is ihr lirsi
casualty wlien you j)ui jjaint on it: illnsionistic spate is iinnie-
diatcly crcated, wlicdier or not thc marks you make ar.
figurative or non fijgurative; and. il non-figuratixe. wliitliei
or not thcy are geometric or '•organi(." Any scribblc involun
tarily gencrates illusionistit space. So I would now put ii
this way: the mind insists upon seeing not oiil\ the painted
marks you place on a (anvas, but also a System of illnsionistic
spatial relationships: somc color h)rins will come loi ward, sonu
go back; some will bulgc convexh. oihers will seem britllr
and rigid; .somc will seem opacjuc. others transparent; some
hard, .somc soft: some hot. some cold. And all these clifTercnt
qualities will bc intrinsic in the j)aintcd marks; thcy will not
arise because tliose marks 'represent" objeds possessing thcse
cpialities. It was prcciselv this sort of probleni that llilton
bcgan to cxjdore in his next pcriod. the nco-plastic clcvelojj-
ment I have mcntioiiecl.
IN PAiMiNc.s like July, I'^53, or Jauuary. r>=>L Ililtoirs con-
scious preoccupation was ahiiost cxclusively with space.
In Jauuary, y^>5-/. the large central form (rather like a \cry
fat in\ertcd L) is caclmiuin red: tlien there are thc sin<Tle
December, 1955 (Ceiitattr),
arca of j)ure black. the two white arcas. both hehiud the rcci
lorm. and thc- dnll vcllow "gronnd" arca. I*aitl\ because the
red Ol black or white in a pictnic such as this was ap|)lied
almosi undiimcci. and j)aitl\ because thc drawing ol the
outlines ol the dillercnt slabs oi color (which I lia\e c allcd
"lornis." ahhough thcy c reale the sensc- ol solidii\ and mass
(iitirelv bv mcans ol theii silhouettes and their opposed color)
gi\cs thcm an aggressiM' jicrspcc tixc, a piclurc ol this nco-
plastic kind l)\ llilton ina\ be said to inani|)nlatc actnal space.
ratlicr than to create the illnsion ol pietorial space. I hat is
to sa\. we no longer have the Icciing thal the Iraine ol thc
j)icture is a wiiidow frame llnoui^h and hch/ud which we scc
tlie lornis and thc space which the clesign c reales. On the
contrary, the traditional illnsion of loims exisiing behind and
beyond the canvas is here more or less rcNcrscd; and what we
ha\(' is a set of forms so powerlul that thcy appcai to be
|)rojectirig tlicinsehcs bodily oui Irom thc- surface ol the
j)icture into the a(tual sj)acc of thc room. IhcN come loi ward
Ironi thc- wall on which thc caiuas is han<'inu and almost
seeni to pusb about the real objccts in ihc room. loi this
reason, llilton's j>aintings of ihis kind ina\ be eonsidered as
suprcnicly an hitec tural. liideed ihe\ ar<' aic hitc e iure: thcii
presciKC call make a large room small or a small one laiger;
a long wall niay contract, a sliort onc- c-xj)ancl with such a
pictuic- upon it. And it was prcciselv because- he saw that
thcy led in this piuelv construc ti\ ist direction (i.e.. painting
hr(f)uiiuir ardiitecture bv way of thc construc ted rclief. for
instanee) that Hilton changecl course once again early in
11)55 and once more allowcd thc twitching, nervous energy
ol bis esscntial seif füll frcedom of cxprcssion. Hut beforc
niaking this return to a semi-figuraii\('. cxprcssionist abstrac-
tioii in which his lull cnjovmcnt of scnsuous f)aint-and
diarcoal textures (chaicoal for the lincs of drawing) is evident,
Hilton diel make- one exhibition ol bis austerer neo-plasiic
Deceiubvr^ 1955,
25
iNTRoDi c iNc; r<k;i:r im .ton
Vecember, 1956*
Gray Figure: March, 1937
(;m\;iscs vvliidi woiild Iiunc bccii adinircd— ioi its modc of
|)R'st*niati()ii as well as iis cxhihits— by iht* iiiost thcorctical
lolloucrs ol ilu' latcr Moiuliian. This was in 1955 at the
Simon (^uiiiii (».illcrv, in I Iiiddcislicld, \'orkslurc; aiul the
"spact'-deatiiig" piopci lies oi tliese (anvases weie truly tested
Olli l)v a niciliod ol disj^lay wliicli used a (aiivas like a screen;
tlial is. ii would be allaihed at eadi eiid to a pole toniiertiiig
llooi ;irul teilinj^, vvith the whole Irainework (poles and
cinxas) staiidinj^ well clear ol ihe vvalls, thiis (illing ihc rooin
vvith a soll ol j)i( ture-grid.
ßelore toniini:» lo ins expiessionist phase, and lo his latest
uorks. I iniist lirst poini out liiat he hiiled enliiely to (oneeal
llie jnnely expressive, j^esiic ulalini; side ol his irealive seit
in his neo-plastic pictiues. His iiitention was, ol couise, elas-
sical: lie intended to suppress all the iintidy ieelint»s which
the hai)itually lopsided balaiue ot his h)rins, tlie "inessy"
trowelini» ol })igineiu and the splutterini> dianoal scribbles
iiii,i»ht lead iis to suppose were integral to his artisti( per-
sonality. \'et in all the works ol this \K'Y\od{]anu(ny, 1^>'>I, antl
iuly, 1^K53, are hoth very iniuh eases in point) the lornis have
the sanie (jualities ol raggedness and asynnnetry; they are
l)limi('(l, roinid-cornerecL nioth eaten at the edges; they consist
ol liinij)y blocks Ironi whidi shaky lines soinetinies hang down,
trailing loose as it were; the sharp straight line is a teature
unknowii to thein, and thev exhibit hardlv anv exaetlv hori-
/ontal or vertical lines or edges. Ihey are. yoii inight say,
the very antithesis ot C^onstnu ti\ isin and ot the neatness of
Nicholson or Mondrian. 1 here is always, lurking beneath the
pertectly adjusted pictorial econoiny ot the (oniposition, some-
lliing disquieting, "soine immanent spirit at odds with the
imniaculate formal toiuept. Despite all their training, Hilton's
fornis break ranks and wave a scraggy arm ai one wildly; or
let their heavy heads hang down, like lileless scarecrows."
I(.)i()TE this last passage Irom sonulhing 1 wrote three years
ago aboiit the forms in Hilton's neo-plastic paintings. Yet
it could ecjually well apply to the first batch of semi-figurative
works that have come since that time— e.g., December, 1956;
December, 1955; or December, 1955 (Centaur). However, when
we come lo lock at the pictures he has painted in 1957—
mostly at St. Ives, Cornwall, where he has reeently been work-
iiig lor three months— a new cpiality is apparent. Color is
silkier in tone, subtler in luie. There is an altogether new
lluency in the drawing and a greater elegance in the tc^n-
ception; and in the handling. The march toward a greater
degree of tiguration continues: we are even treated to titles,
at last, that are specific in Suggestion, such as Gray Figure,
or Bateau ivre. In the latter Hilton makes a retiirn to his
iinpressionist cpiality, white incorporating the tigurative image
of iu\ okl hulk. In (>ray Figure— 'wWmh. is one of the most
hcautitul pictures he has ever painted, a work of great pres-
ence, and hainited by a sort of nostalgic eroticism— he ap-
proaches Matisse and Picasso ecpially, the former in tlie nature
ot the drawing (a dark gray line on a paler gray ground),
the latter in the nature of his Images: breasts like little cages,
and a heavy right-angle along the top right of the canvas whicli
serves to suggest both a chair back and the niide's left
Shoulder and arm. The small oval head, with blank face, at
the top left is more Matisse again, white the line round the
helly (below the little circle of the navel) is, ecjually, a pair
ot buttocks, thus suggesting Picasso's reversals of the backs
and fionts of Ijodies at various parts of the anatomy of a
Single tigiire. However, I point to these vague parallels with
Matisse and Picasso only in order to show the distance Hilton
has traveled in the last year and a half from his neo-plasticism
—in whidi the rigorous non-figuration was stytistically allied
to Serge Poliakotf, I might have Said. I think tlie essential
cpialities of Hilton's painting— an apparent heavy-handedness
l)eing h)inKl to enilKxly supreme pictorial science— show at
their best in this inysterious, spacious and trancpiil picture.
Wehere will he go from Gray Figure (painted in March,
1957)? One has no right to predict his future style, onlv his
great quality.
I
26
ARTS/Mav 1957
RIXENT ACQUISITIONS
grapli the pattcru of prcsent-day Afueriran taste.
Tiioi (.11 ranging o\c'r a \ast aiicl \aricd fidd ol art. ilie no-
table accpiisiiions amioinKcd ot täte i)y American museums
re\('al a disiind j)atieiii ol |)ieferencc' in the minds of oiir
taste-niakers ac ross the nation.
Perhai)s most signiticant ot a irend is the nimif)er of ^fonets
eineiing miiseum (ollections toda\. 1 he cmphasis not iiriex-
pectedlv bears on the "expiessionist ic" works ot ttie French
niaster's last years at (.i\erny. It is only a httle more than a
year ago that New \ ork's Museum ot Modern Art installed its
huge exaniple trom tlie Water Lilies secjuenre, and now, from
the sanie series of waterscapes, the City Ait Museum in St.
Louis has accpnred one ot the Nynipheas exiiibited last fall at
Knoculler's. A related work, Iris by the Fond, has been pur-
chased bv the Art Inst imie ot (Jiicago— which at the sanie limc
receivcd as a gitt an early portrait, M. Coqurret, Fils. Another
early Monet. Fa Jajxijiaise, has been accpiirccl by the Museum
ot fine Alts in Boston.
Kveii if tlie Monets are lelt oui of the accounling, recent
accessions iiiake clear that it is the French school of the past
hundred years which currently cnjoys the greatest favor
throu,<;h()iit the coinitry. Manet's Ffie Railroad has entercd
the National (ialleiy ot Art. and Coinbct's llie l'alley of the
lHach Sprijigs has been adcled to the (Chicago Art Institutc's
extr.iordinary French collection. Seurat's Port-en-Bessin has
gone to Minneapolis and the controversial Renoir bron/e,
Venus l'ictorious, to Portland. Oregon, white the Wadsworth
Atheneum in Hartford has accpiired works by Dcgas, Maillol
and Rouclin. Another Boudin has just enteied tlie collection
cjf tlie Santa Barbara Museum.
In the tield of twentieth ccntiny Fur()j)ean art, the Museum
of Modern Art has lately broiight a number of notable sculp-
tiires to New York, among them works tiy Matisse, Braue usi,
Picasso and Man/ü. In Chicago the Art Institute has installed
p.M'ntin)L;s b\ Cris. M.itisse, Picasso and liancis Bacon, as well
as sculptures 1)\ Chadwick and (ionsagra accjuired at the
Venicc Biennale. The Santa Barbara Museum presents a
f (helitchew and a Kandinsky, and a Lipchit/ bron/e has gone
to the joslyn All Museum in Omaha.
Among conteniporary Amcricans. Stuart Davis, Moiherwell.
De Kooning, Tomlin. Mohol\ Na^v. Marca-Kclli. Clerk, Clas-
c o, (»aiidy Brociie and Helen liankenthaler ha\c scen their
works admitied to the Museum ol .Modern Art. I he Art In-
stitute in (Jiicago is hanging works bv Stuart l)a\is, Hedda
Sterne, (ieorge Mueller. Peter Blume, Okada and Lee (iatch.
A Shahn and a Malclarelli have been installed at the Yirgiina
Museum in Richmond. A Moses bv /oradi has been welcomed
at Columbia Cniversity. and Walter Meigs* Haiti at Amherst
C>)llege In the Xorthwest the Seattle Art Museum has pur-
chasccl works by Wendell Bra/eau, Foycle (ilaussen, Steven
Füller, Boyer (ion/ales and Richard Prasch.
Signiticant Farly .American addilions ha\c' been announced
by the Newark Museum, which is (urrently leaturing accessions
that ine lüde works l)y W'ollasi ;ii, Pratt. Siill\. (iropsey and
Hicks. Ihe Brooklyn .Xfuseum has pure hased [ames llannitoirs
Founderifig and F/te Fast Days of Foaipeii. A poitrait by
Ralph Farl and a still life by Peto have enterecl the Institute
collection in Chicago, and the Wadsworth Atheneum hails the
gitt of Miss Fggiugtou , Anierica's eartiest dated painting (Kibl).
.\mong the old niasters, the Nc^rthern school at present
scems distinctly to have eclipsed the Mediterranean— althougli
the National (iallery has just welcomed a süperb Cioya, his
Victor Guye,'d\\d the CJiicago Art Institute and the Wadsworth
have both added to their llalian Barocpie (ollections. Fore-
niost among recent old inasier accessions is the Rembiandt
paired portrait at the Museum ot Fine Ans in Boston. Ihc
Reverend Johannes Elison and II is Wife. A Rembrandt draw-
Clande Monets WMrinAS. ncrjuired h\ Ihr (jt\ Art Museum, St. Fouis,
Missoioi: Ihc work is a giff of llic S(ciubcr<:^ CJinritahlc Fund.
27
RIX 1 :>T AC <^>l ISITK >NS
inj;, l'hc /ichctulino of Saifil John l/ic Iial)/isl, li.is just hccii
a((jiiii((l l)\ ihc WOrttstci An Museum. Otlici icccnt ;i(I{li-
tious \)\ NoithcMi iniislcis iududc I I;mis IVilduni; (.ricirs
l'rnu.s (U\(l (:u/)i(l, ;n {\\v .\f innciipolis Institute: [oos \ an
(ileNc's l'hc //o/v I'dtnily, .it the Curiiei (.;illei\ in M;m-
(liesler, New I linnpshiic; Jan S.nideis \an I leniesseii's Judith.
at the (;iii(a,i;() Art Institute: and Matthias Stoiner's Christ
lioinid to the Colunin, at the ProN ideiu c Museum.
In a cite^oiN to itsejl is the lom teenth-(t'ntur\ diuifix hv
I'iancesco di \'amiu((i(). purdiased by the Roh [ones lhii\er-
sity Museum in (ireen\ille. South (laioiiiia.
In the doniain ol ancient sculplure. a lunnhei ol memora-
l)le— and catholic — seiec tions have heen re|)orte(l. Ihe Metro-
j)<)litan in New \()rk has phued on display a Sumeiian (opper
Statuette (( . 2()()0 WX..) ol a mau. as well as an au( ieiit Teisian
hron/e head ol au ihex. Ihe Minneapolis Institute ol Aits
has a((juiic'd the renowned " I ihei Statue." the Hellenist i( niar-
l)le inuse imearihed at Ronie in ISST). And the Philadelphia
Museum ol Art has pmchased loi its permanent (ollection
the most importaiu i^ioup ol Indian stone s(ulptuie to be
scen oulside ol Jndia itsell.
Mfilthias Stowor, f urisi hoind io thf coiimn, nrquirrd l)y
the Providcricc Mu.snnn, l^rox'idctuc, Rhode Islcnid: this fusion
of J\\thc)\s fitid Cnravao^a^io (mo;infnit.s a rca-ntty fonncd tnid
r(ij)idty ir)()wi}ig cottcctioii of liaroffuc j)ninliiiirs.
Francpsco di Vaiunivcla, CRicn-ix. acf/uiicd hy tlic li<)l) Jojirs
( Hivcr.sily Mu.scmn, (.ycon'illr, Sout h ('.(nolifui; a jucc ioji.s rxnin hfc
<>! ui('(li(-i'(d dn'oliontfl (nl. Ilic ()U(ili\ was l)(ii}il((l iti tlir srcond
h(ii\ of llic foin (coli li (ciiluix.
Fraiicisv€> dv (ßifya y Lucifntps^ \nn)R (a\\\ <i( ■
(jitircd h\ tlic Xatioudf (Udicry of Art, W'asliifiirlon,
I). (..: llic i)nj)rcsswc (uict cfi;j:^nfri7i(j^ f)o)lrait is a
ij^ifl of \Vi1li<nu \cl.\oii ('.roinwrll.
2S
John U ollaston, \ www (.Korr, accfuitcd h\ llic Xeicar/i Musniin, Nexcark.
Xcw ./r;,vn'; f>ur<hasrd tliroiioh Ihe Mcnihcis Fiifid. Au iüiolish fxtititcr,
Wolldsloii u'orlicd i)i America for two dccades just bejore the Rex'olution.
Jan Satidf'rs van Henwsst'ii^ ji Diiu, ae-
fiuircd h\ Ihe All hislilule of (:hi({i<^o: fmr-
(hased Ihrougli llie Wirt l). Wtdlicr liuid.
0 «.♦'• m».-l **- i
Ht'tnhrandt ran Rijn, im iuiuai)I\(. oi saini |on\ rni: HAriisr,
({((fuired hy ihe W'orcesler Art Muse um, l\ <ir<('sler, Mnssaeliusells.
Anonrnious Allahabad svulptor^ ni ad
in siw, (((■(/ ui red l>\ the l^hiladeljdiiu Mu-
seum of Art: Ihe leiil h-ecutury head is oue
of Ihr forty -nine fneces fnükintr uf) Ihe
iiiosi iuiportauf (ollec tinn of hidian stone
s( idj)t\tre to l>e toinid in llic Western jcorld.
ARTS/A/^/v 1957
IIAXS IIOIWIANN
Tlic Jf^ liitncy M iisctini's rcfrospccflvc cxliibition
iindcrsrorcs liis pcrsofu/l (uliicvotjciit in rcccnt ycars.
BY ELIZABETH ROLLET
Sel/-Portnüt {1902); coUection of the artist.
Birth of Tmirus (J9-f5); coUection Mr. and Mis. Fred 11. Olsen.
ON Hol mann's studio door. in a lyrical Script familiär to
tliosc who hav(* laktii in a llolinanii painting, arc tlie
words: hatis hojfndnti/ j)l(uise knock shono, ()n a |)ainting,
the sioriaturc and datr. with an a|)ostro|)lu- lor the Cen-
tury, have a (reative resonancc ol their own; thiy are not just
a si.i^nature and a date, lor ihere is nothin,i> in a Holniann
painiinj» ihat is not integrated inio the (reated wliole: every
eienient has a color. a place, a pi^niented texture. His nanie is
ne\er the saine. On his studio door. it has an outuard niean-
ing and an inward ineaning, ior it opens into a studio where,
in Maidi weatlier. the red eye ol an eiectric heater is glowing
on a tahle top. into a studio surrounded l)v brilliaiU (olors,
sketdies h)r niosaic nuirals. old paintings only parts of whith
(an he seen. and new paintings upon whidi his (reative genius
is now intent. Ihere is soniething monumental ahout the
striuture of Hofinann's lile as there is alxjut the structure of
his work. He kncxked loni> and loudlv at the door of a new
World in tiie ereation of art. and in the third (juarter of his
life entered with a ijurst of c reative splendor.
If yoii ask hiin a Ijold cpiestion you will get a hold answer,
Pointini» to a work done in the thiities that was still recog-
ni/ahle as an iiUeiior with a tahle toj) and hooks, 1 asked
what he feit was the majc^r dilierence hetween that painting
and the one he is working on now. " riien," said Hofniann,
"I was still nnder naturc, not that 1 was iniitating it; now 1
am (d)ove nature. But everything (omes from nnture: I t(Jo am
a palt of nature; my memory comes Irom nature too." And in
trying to be helplul, he may (juote (ioethe lor you, in (iernian
lirst, to the eilett that a painter's language is paint, n(Jt Speech.
Ecstasy {19-17); lent h\ the Samuel M. Kootz Gallery.
30
Ma^eitta and lUue {J95l}}: coUection \\ Iiitncx Museum of .Imcrican Art.
But thcn with a snn'lc he \vi\\ remind the world and you how
nuich spcaking he himself has had to do, since the generous
early support of his hrst patron was (ut off during World
War I, and the hrst Hofmami School was h)unded in Munich,
drawing many students irom all over lunope during the post-
war years; and again ui Ameri(a. where the second Hofniann
School was founded in New York in I9-i2, attrading inany of
our most striking talents.
Hans Hofmann was born at Weissenburg in Bavaria in
ISiSO. His famiiv soon moved to Munich, and it was tiiere,
wlien he was just sixteen, that the young Hofmann dec ided
that his life would be a life of ereation, exj)loratioii and im-
aiiination in a world of art and artists, and that it would not
be spent, like his father's, in the petty bureaucracy of (ierman
oflicialdom. l'iiis decision was to take liim. with his wife. whom
he met a few years later, to France in 1 !)()!. h)r ten years spent
in the center of ferment of modern art. "// apl)aYtenait an
grou\)c Picasso, Bra(iuc et Derain et etait un travaillrur rc-
serve," WTote Kmile Szittya about the Ih)fniann of that period.
During the war years he returned to Ciermany. wlure Kan-
dinsky and Klee and then the Bauhaus were |)owers; and in the
early thiities he came to America, lirst as a summer lecturcr
and teacher at the University of Calih)rnia. lierkeley, and
hnally to stay. And it is in America that his art finally reaches
its most decisive exprcssion. Starting in the late thirties with
landscapes and interior still lifes. j)aintings in which an exte-
rior vision is being creatively transh)rmed, Hofmamrs art
ARTS/A/^0' 195\
gains morc and more frcedom. mit II, with an almost nianic
burst in the forties, Ins locus is entireh shifted to an interior
vision. Though he returns to still lifes and olher ol)jective
points of inspiration, he is indeed no longcr undcr naturc
but rather above it.
WiiAT does it meaii to have an interior vision?— or to be
above nature? lliis is a cjuestion wliidi the pres(nt Hof-
inaii retrospective at the Wliitney Museum should answer. For
the exhibition contains nuich of his major work of tlie past
(ifteen years— a numbcr of paiiitings from the thirties whidi,
(ine in themsclves, also show us what hc was working toward.
and crayon drawings and watercolors. Nor must one folget to
mention the delightful and very early Selj-Portrait (M)()2),
Post-Impressionist in technicpie and one of a very few Hof-
manns from his first thirty years as a painter to survive the
historical debacle and destruction of two world wars.
But beh)re we consider Hofmann's work itself. it would be
well to look briedy at the inlluences \vliich, expanding in Hof
mann, led to the ereation of that work.* 1 his may cast light
too on tiie fact, which has surprisccl so many, that Hofmann
*A detailed accoiint of Hofiiumn's life and work is prcscnted in
Haus Hotmauu, hy Frcilcrick S. \\ ii^lit il ni\t'isit\ of ('anh)iiiia
l'rcss. lU'rkdcN . $.").()0). pubbshccl coiuuncntly witli the \\ hiliu\
exhibition. Ihc volunic iiuludcs IIotiiKinn's cssay, "Ihc (.oloi
Problem in Pure Paintin<r."
31
HANS IIOFMANN
(lid Mol l>(\!L;in (o procliuc his Ixst work until he was in Amer-
ica and alrcady ovcr (ilty. In Iraiuc, tlu' a( adtinic ism and mild
I'.xprc'ssioiiism ol Ilolmaims sliidciit days was soon dissipaU'd.
I hcorics ol Impression ism had already rcachcd liim in (icr-
many; but lie anixcd in Paiis jusl in tinic to j)artic ipale in all
thc ex(itc'inent whidi ihr sliockiii^ (anvases ol thc Fanvcs witli
tlu'ir brilliant holts ol tolor stirrcd iij). And. as sivcral critics
lia\t' j)()ini('(l out. ilic iulluciu c ol thc Fauvcs, and particularly
ol Matissc. was iicNcr lonj^ doniiant in llofniann. it is evident
not only in thc still lilcs ol thc thirtics hiit also in thc hrilliant
l)la/c ol lii^lit, thc cxpic'ssivc (olor ol his latcr work. \i twcnty-
livc, howcvcr. Iloiniami was still "//// Ixnuüllrurrrsrrvr." Latcr
hc was to i^o l)a(k to Clc/annc morc directly, experimentinir
somcwhat (antiously with thc prohlcm ol stnicturin«^ a land-
scapc in space j)riiiiarily throui^h (olor; and niany years were to
pass bclore a boldness comparable to that in the carly canvases
ol thc Kauvcs wonld aj>pcar in Hoiniaini's own work. Cnbisni
too is not without its inllucncc. In the end. thcre is no nicthod
of ereatinji; volmne within a two-diniensional framework that
llolmann iic<>lc{ts.
r>ut in eniphasizin<; tlie inllncnce of thc French— wliidi Hof-
mann hinisclf so readily aclmits— one shoulcl not föntet (icr-
many. For it was in Gcrniany in 11)12 that Kandinsky publishcd
Oti thc Sl)iritual /// Art, and in Germanv that a j)hilosophy
of art as spiritual expression caine to thc forc. In the group
aronnd Kandinsky. writes (larola Gicdion-Wckker, "an cssen-
tially spiritual attitudc toward thc physical World was to
kindlc a llamc ol Ircc ima^ination . . . color and form were to
bc vehicles ol unhanij)crcd psydiic expression." For kan
dinsky was not nicrcly obtaininii; a divorce ironi olcl objects
and Images so that hc could transform onr visir)n of thcm by
csthclie nieans; he was intent on breakinj» down those mcans
into Clements of pmc (olor, |)nrc linc, ct(., until they coidd bc
used as frccly as a coniposcr uses thc toncs of a inusical stalc.
But whcrc Kandinsky and Klee, in thcir teachinj»;, both cin-
phasized thc sc(|iicnec of events on thc picturc plane, thus
addini; tinic as a part of a linear sccpiciue of cause and elfcct
—one form cIropj)ini; on anolhcr. say. or a secsaw tiltinj.; up—
what flofmann has cnij)hasi/ccl is thc simultancity of all the
Clements in thcir impact on thc vicwcr.
Thcre is too muc h analysis; what wc need is svnthcsis, Hof-
mann insists— oncc aj^ain rcniinclin<» us of thc F'auvcs— and
synthcsis "makcs strc)n|;»cr form acccntuation." Linear dcvcl-
opnicnt is to Ilofinann priniarily dcsi<;n; what hc wants is an
or!L»anic dcvclopment that makes a paintini^ a resonant color
ficld with a stroii" structural unity. And it is in America that
hc finally aecoinplishcd this, an America free from thc weicht
of cstablished visual traditions, an America whcrc so littlc
of our culture has bcen put into art that a wholc school is
like one voite crying in thc wildcrncss. Not rennement but
exj)rcssive power was what America ncedcd, and Ilofmann, giv-
ini; his stndcnts thc mcans, also discovercd his own ends in an
America whcrc. as hc says, he was able "to unfold all thc
possibilitics of his mind."
Orchestral Dominaiice in YHlow (/95/j; collcction Mr. and Mrs. D(wid M. Solinger.
«••*
The Frey iJ^^yhi: (o/Icctioji o/ ilic (ulist.
Hoimann's work. in bulk. i^ a da//lin.i; siiL;ht. Ihcre is so
nuic h hrilliant color. such assertixc |)aint texture: hills.
\ alleys, splattcrs. slurps. tumblcs of color blocks. colors rising
in swirls like an Arabian .i;cnic solidifyint; out of a bottle of
snioke. Surroundcd by such paintinj^js. one fccls immcdiately
that this is a world not of unrealitv but of ma";ical rcalitv. Here
tolor is lifc: hcrc all that is ugly, horrifying. shockint;. pettv,
clani^crous. clcstructi\c'. thc human marathon ol anxictv. fear
ancl death. has no color encr^v and cannot survive. Fxpc-
rieiicini( Hoimann's colcjr. his fantasv, his imai'inarv animais.
his iniai^inarN intcriors sparklini; with color suns. Avith llashcs
of skv vcllow. oran<^c, pink. red, this a\ riter ^^as rcmindcd of
Hui^h Loftus and the ma.gical si^hts and sccnes cxpcricnccd
hv Dr. Doolittlc.
hl the enchanted world of Hu<>h Loftus. when Dr. Doolittlc
and his aninials escaped from thc leed bills ancl ^ray dri//le
of a drearv London suburb to thc adventurous intcrior of the
African jun^le. thcv camc across a new animal for wliich thev
coiiied a nanic: thc *'Push-me-I*ull-vou.'" VVitli two heads and
two sets of front Icl^s but no hindcjuartcrs or tail, this beast
could never go forward without going backward, or backward
without going forward. And one might sav that hc had only
one asynimctrical point. the point whcrc. if you cut him cx-
.ictly in two. his two hahcs wcjidcl fall apart.
Ihis is not so stränge an introduc tion to Hans Hofmann's
creatcd world as it might seem. If you can imaginc one half
of Dr. Doolittlc's Push-me-I*ull-you as an empty volumc out-
lined on a picturc plane, thcn in Hofmann's magical world
the other half will nctessarily bc a mass: plastically. the empty
volumc secms to |)ush in, the mass out, while the point at
which the Push-me Pull-you could bc c ut into two ccjual halvcs
call bc callcd the fulcrum. thc pixot, the stabili/ation point.
or thc Visual centcr ancl h)cus of thc painting. And what Hof-
niann has formulatcd thcoretically as thc plastic unity of
l?iish and pull on thc picturc plane is without doubt not only
Iiisiiiost significant contribution to the dcvclopment of abstrat-
tioii into Abstract Expressionism in America, but also a major
factor in the dcvclopment of his own work. For oncc plastic
unity as a balance of opposing forces has supplantcd in his
work the objec ti\e unit\ of a landscapc or an intcrior still life.
thcn Holmann is no longc i iindrr fnihnc but dhovc it. And
bcing abo\(* it. hc is Ircc- to intcgiaK in nc w rclalionships
innumciablc chincnis hom thosc lonii \<ais ol di\crsc ex-
pciicncc as a paintci.
lh)hnann's break imo a woild ol (n.iti\r painting. into a
wcjrld, as hc puts it. dominated 'In iIk de niands ol thc me-
dium ol cxjircssion." occuncci in iIk l.m thirtics .inci <arly
lortics. Roughh lor a che ach . IM:i!M!^ Holmann cxjxi imciiKd
with \arious waxs of atlaining jj|asti( dcj>th and unit\. harking
liac k at Inst to Post hnpK ssioriist and Post(.ul>ist t(( liin'(ju( s.
'Jims in paintings whidi might bc (alhcl iiiiaginaiv landscapc
cxperiences. such as l r /tnd/n. 10 /sro/y. ////;v VV//r. Ejjrr-
vcsccricc, hc uses an ovcrall bo(l\ ol paint. like a l>od\ ol
\\atcr. And xvith a piolusiou ol (olois .ipj)li((l lor thc most part
in separate units. thc suilacc secms to r is( ancl lall, mass or
Nlackcn. not onl\ l>\ mcans ol its tcxtuics but also through its
(olor clcnsiiics. lo bc litcrars: I .<- lardni is a licndi garcicn
ol llovvcrs; '/O Ascojj, thc- f.nglish cournMsjch; l(nr\ Idlr, a
landscapc (il lancv: I\ffrn'r\( mt r, n liglith ( loudccl S/iot/i und
Drarii!;. Color is piimarilv mass in llicsc jj.iintings. gravitating
tovvaicl one or .niothci color centcr.
ßv contrast. in abstraciions such as lauihrftitiu:, l'nlillrd
l^>n or Subtricrij^cd, color is jjiimarih spat c-volumc. Bcauti-
lully clear colors arc applied in distinct atcas. (ach color tcrid-
ing to sound one notc- in a total chorcl ol ic pcatcci. contrast-
ing, opposing or c omplcmcriiar v colors. And though hcrc too
ihc surlace bcgiris as a unit\. this tinic it is as a bocl\ ol space
ratlicr thaii as a body ol mallcablc iiiatici. for in ihcsc paint-
ings, thc surlace is di\idccl morc or Icss strictb ancl gcomctri-
cally \uU) thrce or lour or six arc-.is b\ a prcicess of dixisive
ccpn'valcrKc that immcdiately criiphasi/cs thc uniiv of thc- wholc.
In thc same pcriocl, Hcjfmann also j>ro(hiccd paintings in
which thc Space is de Inicd bv intrusiori. like a stage which is
empty until thc pla\ bcgins. In Hirth oj 7V//////S. thc space- is
dominated by oiie- Hat shajjc: in the- morc- reecnt '/'lir I'rry,
In two— one thc bitel sh.ipt- ou ;i eentral stalk that iuris,
a stream of black. Iroiii his bocI\ to ihe- top ol thc ean\as. thc
second like a uhcel ihrowing ejll sparks ol eolore-el paint. \rid
in woiks such as I dolatrcss, lüslasy and I'jnhxKr. the- space
is dotriinatcd bv lonns. not Hat. but almosi seulptural in thcir
impact. In Ijnljyacc, Icir cxamj^lc-. two lonns. hea\ilv contourcd
and varicci in planes ancl (uincs. are- dra\vn toward a central
locus in such a wa\ that the- wciglit ol thcir Separation secms
to bc cxactlv balanee-cl b\ the jjowcr ol llicii attraction.
Hcjimann's work. Ime- in thc lortics. be-eeimcs niagnilie cnt
in thc liltics. As his mastci\ ol "thc de-mands ol the- meeli-
um ol expression'" increases. he- gi\e-s a nme h Iree-r reirr
to his \isual jjowcrs. As hc eombiiies sc\eial or all ol thc
Narious mcthods he cle-\ clopccl lor the- ae liie-\ e-nicni ol plastic
cicpih and \isual unity. his paintings, no longci aspeets of an
iriiagiriarv world, seem to be- eae h a wholc world in itscll. At
thc same tinic his surlaec-s be-c omc inlinitclv \ariccl.
(.cometrical di\isions ol a singh- space- eulminatc. toward
\\):){), in such hrilliant paintings as thc .\e-ube-rgcr ( lolh e t ion's
Iruit Bowl, or thc W'hitney's Mdornhi nnd lilnr. or the- Hat
color volumcs in such a magical piojeclion ol loniial unit\ as
VfiHorji (I9l8-.")2)"a Hat icd beast in a Hat grcen world
miraculouslv balanccd bv a \olumc ol white-. Organicallv re-
lated Icjrnis rcappcai in a lie lel ol bicathing color in a work
such as Elster (a (»erman blucbircl). or in Scotdi and liiir-
ij^undy, whcrc irregulär rcci.jugles and jjaits r»f circics arc
luscd on a paint surlace that is st ulptmal. it is so hca\ ilv rie h in
color. And lor sheer brillianee . loj a piolile laiion ol eolois and
texturcs and Spaces in a \ibrani ancl dramatie unit\. no jj.iint
ing is a better cxamplc ol uhai llolmann can now aceomplish
ilian thc Solinger (iollcc tion's ()r( he.stral DoniifKiru c ni Yelloiv.
As lor thc artist. thc world ol bis an sccins now to ha\(- taken
o\cr. I hcrc is no longcr an\ epicstion ol control. All is matter
lor crcalion. Fach painting. oncc- bcgini. see ms to eoinmand its
own development. I he artist. laithlul in the- pursuit of his
own Vision, himscll bclic\e-s that he has onl\ to experiencc
the first coruretencss ol the work ancl he- w ill inc\iiablv fullill
its potent ialitics.
ARTS/A/.iy 195\
33
EST ABLISHED 1846
EXHIBITION
SCULPTURE and WATERCOLORS
by
CONTEMPORARY
ARTISTS
1
MAY 7-25
OLD MASTERS
FRENCH IMPRESSIONISTS
CONTEMPORARY PAINTINC
AMERICAN PAINTINC
PRAMINO • PRINTS • RESTORATION
14 EAST 57th STREET
NEW YORK
PARIS
LONDON
SPECIAL BOOK SECTION
The nude in art . . . a study of Englishness . . . Ravenna mosairs
. . . miiseums in portfolio . . .a monosrciph on Gliiberti . . .
Abraliaw Rattrter . . . modern Japanese prints . . .
The Nude: A Study in Ideal Art h\ Kfnuetfi
Chnh. I^olliiigt'ii Sei its \\\\ . I'imiliccin. ST. .')().
II IS a pleasure Co emiiiRMalc llic \irtiics of Sir
Kt'inu'tli (lark's inosi icccnt l)()<)k: a clclij^lit-
ful tlu'iiu'. a wcaltli ot peiietiating anahsis and
iiisi^hi, oiic ot thc liaiulsoincst prose stvles in
(()iiU'mj>oiarv ai t iiistoritai writing, 29«S cxtcl-
ieiit illiistratioiis in iialftone, almost taultless
((Ictails of reproihK tioiis arc not alvvavs lahcleil
as sii(li) piodnc lion, and rcasonablc pritc.
In riir Siulc, as in his Latidscdlx' Paiiitiufr of
H)49, Sir kcnncili writcs art liistorv as tlie his-
torv of onc of its grcat iconographical divisions,
and lu" lU'cds oiiK lo do a voliime on still lifc lo
(onipk'lc tlic II iad of pcrson, j)lacc and lliiiig. If
it is thc liisi oi ilicsc ihat lias pro\ idcd art witli
ils mosl ( ha!k'n<^inj^. fii^rossinf» and cndurint»
tlicinc. thc luidc. of all tlic possihilitics of thc hu-
man, providcs thc inost sj)c( lacular oppoitunitv,
Ihc (.reck iHidc, as Sir Kciniclli points out. \v;is
at once a inanifestation of iclij^ious fcchng, ideal
inspiration and scnsualitN. In niodcrn tinics it i^
the acadenii( proving groiiiul par c\cellencc:
\oii (an fool Sonic of thc pcople all of tlic tiinc.
etc., I)ut evcryhody knous thc liinnan ligurc.
Sir Kennet h piirsncs severai esthetic thcnics
whicli j)resciU insuj)eral)lc proI)lcnis hiit whidi
ncver diiii his perccplion of iiulividual works of
art. One of these is stated in tlic suhtitlc of thc
voluiiie, and the anliior is forced to swcrvc froni
it repeatcdly. Another is that the nude is not a
suhjcct of art hiit an art form "invented hv the
(.reeks in the hfth ccntiirv just as opera is an
art form invented in seveiiteenth-ccnturv lialv."
W'hile this tcrniinologv mav illinninatc an impor-
tant inoincnt in the hisiorv of the nude. it is
onc that not c\en its aiilhor maintains stricth.
"ßefore tlie Cnit ifixioti of \richelangeio," he
writes. "we reaii/e that thc nude is tlie inost
scrious snhject in art." I hc amhignity which rc-
sides in the term 'nude/' as in this qiiotation.
arises often in Sir Rennet h's disciission; and onc
sometimes wonders whethcr he is descrihing a
work of art or a real personage: "the Marathon
hoy is siiiiply a yoting body like a ripe fruit."
But in siicxiinihing to this ambigiiity Sir Kenneth
is not alonc; it is inorc than one artist who finds
it difficiilt to distingnish hetween the attrattion.
say, of a woinaii and that of a painting of a
wo man.
The eroticisiii that hoth the real and thc rep-
resented nude arouse prescnts Sir Kenneth with
the third of his problciiis and one that he han-
dles in uneqiiivocal nianner. Early in this vol-
unie he quotes Prof. S. Alexander to the efTecl
that if the niide is treated so as to aroiise feel-
ings "appropriate to the iiiaterial snhject, it is
false art, and had morals. " Sir Kenneth, on the
othcr hand, declares that the nude that contains
no vestige of the erotic is "bad art, and false
morals." Again. late in the \ohimc. of a Mnenad
after Scopas, he writes. "she is still part of that
aiui(pic rcligion of scnsualitN froin whith. in thc
i^wd, thc nude dcri\es its authoritN and moincn-
tuiii." \\ iiilc this is not thc onl\ attitudc onc
mav have toward thc nude in art. it is refreshing
in a Scholar, and releases Sir Kenneth for a suc-
ccssion of 'readings*' of the nude that are elo-
(jucnt and pcrtcptivc in a warmlv humanistic
traditio!!.
I hcse oftcn da/zling intciprctations couiplc-
ment an ccpiallv da/zIing historical analvsis. Sii
Kenneth tollovvs thc (hangcs in thc usc and
trcatuicnt of the luidc in aii and is ablc cvcii t(»
tiacc thc origins. miitations and (ombinatious ot
inanv of thc vcrv poscs in which thc nude is rcp-
rescnted. Hc inids two important ticatmcnts <»f
thc fcinalc nuile: the C.reck. in which the stronglv
accented hip caiised bv the shifting of the wciglit
to onc leg establishes the ar( hitcctiiral chaiiic-
tcr ot thc nude; and tlie Gothic, which hc calls
"thc alternative Convention.' Lei him (lcscril)c ii
in liis own words.
■' I his is what distingiiisiics thc (.<)lhi( idc.d
(»f thc femalc bodv; that whercas in thc anticpic
nude thc tloininating rhvthin is the curve of thc
hip. in the alternative Convention it is thc cuivc
of thc stomach. Ihis change argucs a tund.i
mental ditfercnce of attitudc to thc ixulv. 1 he
curve of thc liip is created bv an upwaid thiust.
Ikiieath it are l)one and muscic. suppoiting tiu-
bodv 's weight. However scnsuous or geometric it
mav bccoine. it rcinains in thc cnd an imagc <»l
energv and control. i hc curve of the stomach is
created bv gravitv and rela\ation. It is a heavv.
unstructural curve. soft and slow, vet witii a kind
of vegctable pcrsistcnce. It does not take its shapc
trom the will but froni thc unconscious biolog
ical process which gives shapc to all hidtlcn (»i
ganisnis."
In view of the richcs of this voluinc. it mav
apj)ear as an ungralefulness to mention certain
omissions. One would have wclcomcd a disciis-
sion of that inost scnsuous— and most numcr(uis
— of all nudes, the Hindu: incxplicablv. there arc
onlv the scantiest referentes to India \\\ this
volunie and only two reproductions of Indian
examples. It is surprising. too. to find, in a tinal
chapter entitied "1 he Nude as an F.nd in It
seif in which Moore, Picasso. Branciisi. Matisse
and Rouaull are disciisscd. that there is no men
tion at all of Maillol. Lehmhruck. Modigliani.
Pascin and Lachaise, for whoni the nude was
not merelv a siibjcct but thc riindus operandi of
their art.
What of the futiire of the nude? Thc Paris
correspondent of this Journal likes to insist that
'the human tigiiie is through." Phe self-abne-
gation and doctrinaire modernitv of this State
inent are shared neither bv Sir Kenneth Clark
nor by the present writer. Ihe latter takes the
fighting Position th.it thc huinan tigurc will be
through onlv whcn man. that is tn sav \I;m. is
through. As for Sir Kenneth. hc writes. " Siu h
an unsatiablc appctite for thc nude [as in thc
sixtecnth (cnturv] is unlikcK to ic« ui . . . \oi
arc WC likclv omc morc to ( ut ouiselvcs oll
trom the bodv. as in ilie ascctic cxpcrimciii <»f
medicval ( hristianitv . \\ i- m;iv no loiigci \\«ir
ship it. but WC have (oiiic t(» terms wiih ii." .Sir
Kcmicth writes. of (ouisc. as a Kuro|)caii. but
liavc WC comc to terms with it? I hc nudes, or
all-but-nudes. ot De Kooiiinu of four vcais auo
make it appcar ihat wc have not and lliai uc
are not likclv i<» for some tiinc. I Ins augins an
iiitcicsting if discontinuous futurc h)i thc mide
on this side ot thc \thmti(. Alwavs a supprcssed
tliemc hcic. it (an crupt at thc most unfoicsccn
moments. \nd thiseiuption will |)i(>(iu(c lom K
and uiiusual nudes. Our Paris ( oi icspondeiit is
probablv right: as a icsult ot thc (omhincd
torces ot thc national moralitv and (»I rcccnt
artisti( cvolution. thc hum.ni ligurc. as a viablc
sul)jc(t. is through licrc. wherc. cxccpi tor
l.adiaisc. it ncver IümI a (hamc. mi»\m (.msi
The Eiig:li.shiies.*^ of Eii^li^sli .Art l>\ \if<ohnis
Pewsnrr. Iredcri(k A. Praeger. Im. nJ.'.O.
Tut title of Mr. Pcvsnci\ liook suggcsts liumoi.
Its most amusing fcaturc is tlic autlinr>
presumption that bv gcncrali/ing on an in terms
of its national (hara(tci he is doing something
(laring and |)erhaps not altogethcr rcspcct.ible.
Herein lies the F.nglishness of Nikolaus Pevsncr—
wlio is not in fact an F.nglishman. WCII awarc
that "thc geogiaphv of art" lias had extensive
trcatuicnt on the (.ontinent for over two (cn
turies (he himscif names thc Xblx' Diibos as
its modern staiting point). he is noncthcicss con
strained. bv a(a(lcmi( (ourtcsv or a spc( ies of
inelasticitv a((piircd from thc countiv of bis
ad(j[)tioii. fiorn a((epting the morc penetrating
approaches of suc h writers as Paine or Santa vana
or P.li Faure. Pevsner Starts all over again as if
the onlv theoreti( ians on the suhjcct hc had to
modifv were William Morris and Roger Frv.
C!onse(pientlv his book. although thoroughiv
grounded in thc parti( ularities of British de(()
rative and functional art. suggestive whcrever it
engages a sc(picncc of (ontrasts. is unnecessarilv
dillident in its principal detmitions. Pevsner's
procediire is to accept certain Fnglish character
traits as established— restraint. cmpirical Obser-
vation, detachment. cthical preo( ( upation— and
ilhistrate their e\f)rcssc(l (orrelatives in the mii-
tations of the British arts of design— architecture
and painting cspeciallv. Ihe demonstration. as
far as he takes it. is niasierlv. But (aution or a
failurc of perception stays his hand. Bevond a
ARTS/A^O' 1957
35
SPECIAL BOOK SECTION
KHKtssioii u> ilu- ii.j(liti(mal inliiiiuc <»1 (liiuaic
as üw priiiK" shujJtr of (iisioius, hc dücsn't ciit
iliKMigli lo ilic boiu- ol ilic (jiit'stion, nanich :
ihi' noioiioiis sinsiKil (k'li(ic'iu\ of llie J-iiglisli.
Howt'Ncr. siiKc l't'Nsiu'i's j)ii(Kcu[)ati()tJS ;iic
mainU wiih an liiltc imi' aiul j)aiiitiiijj; daiul-
stapc j^ardcniiij^ and s(id|)lim' ari' lonsidcicd
iiu idtiilall\ ). lu- is foKi'd lo ac kiiow Ifd^c llic
iiianitcst tonst TNalism anil ihc gtiurallv inli'iior
plasiic st-nsf ol iht- IWitisli. wlun \\ti_nlifd in tlit*
uni\trsal stalt-. I Ins lit- tlcals wiili in llit' nu)st
j^allani ^^a\ j)t»ssil)lt': |)t»inlinji; out tlit- solid
>irmc's antl anal\/in^. wiili cas\ ti ntliiion. ilic
inii ana(it>nal ((»nnct tions ol ai( .intl sotial stantl-
aitls. \t tlif t>ulstl lif lakt's tait' td tliosi- l)otli
crstMiic tinalitics thal tliallcnjuc all promoti'is ot
llic (.t'iuial Sialtnunt:
I*t)laiiliis t\i(lcnt in twt) tonstt uli\ t- |)i'iit)tis aif:
ihf I)ttt)raU'tl and tlic Ptj ptiulit ular Stvlf. \ an-
l)iujj;^li am! Lou\ Burlington. Hogaitli and Rt'vn-
(»Itls. W hat tliis hot)k st'ls t>ui it» tlo is to ana-
\\sv lor t'atit td tlicsc intliv itlualK wliat is F.ng-
lisli in ilifni. antl tlicn stc hon iai tlic rcsulls
rcalh (ontiatiiil rath t)tlR'r. I or instancc . . .
Dctoiatcd is thc Ht>\ving liiu-. l'tipcntlit ular is
llic straight linr, hut l)t)th aic lint' antl ntn htuh.
C'onstahlcs aini is irulh tt) natuit-, I uiiuis
wt)rltl is a fantasniagf)iia. hut ht)tli arc tt»n-
(crnctl willi an ainit)sp}u'iit \'iv\\ t)l tlic A\t)rltl.
not with tiu' lirin phvsital t)hjctts in it. . . . It
is iruf ihat in ihis (■t)nstal)lc antl I uincr alst)
rc})rt'S('nt a Kuropcan antl nt>t incrth an F.ngiisli
<lt'\c'lt)pinc'nt. hut tlicii s|>t't iiit all\ unst ul|)iuial.
unplastit. (It)utl\ or stcaniN trcatincnt is, as will
Ik* sht)un, Knglish all ihc sanic.
Antl I*(\sncr ktcps Ins pitunisc. st) far as thc
surfatf rcatling gt)cs. tlisttxirsing with instiiu-
li\c rc'sults. (t>gc'nth suppt)itctl h\ pht)tt)grai)hs
<d his (t>niparati\c niatcrial. t)n iht' narriti\c' as
against thc csthctit hias td Knglish ait. tlispla\ttl
carh in mctlicxal tapcsirics antl psaltcrs: t)n thc
ulilitarian spiiit whith was alikc at thc hcait t)l
lhc()r\ athantctl hv Ht)garth t)r Kcvnt)ltls or
(.t)nstal)lc: t)n thc tlctat hiiicnt with whidi ar-
cldlctts and [>aintcrs so t)ftcn "chosc" onc
siNJc or ant)ihcr Irttni thc Kurt)j)can antl tlassi-
tal pt)t)l: c)n thc cntluring t)pj)ositit)n t)l thc
F.nglisJi as a wht)lc (cxtcptitms nt)tctl) tt) titarut
or ahstrad c\]>rcssit)ns— tt)gcthcr with thcir irr;j-
tional prcdilct tit)n for thc cctcntric ("thc rcla-
lion of picturcstpic garilcning tt) lihcrtv") antl a
convictit)!!. juritlital in t)rigin. that catli tasc
sht)ultl hc trcatctl t)n its t)wn nicrit. whith l'c^s-
ncr sccs rcfict icd in thc tliffcrcntiatctl priiui])lcs
of tt)wn antl-tilN planning thcorv.
I*c\sncrs anxicty tt) rc\cal harnit)n\ hctuccn
sccining (ontrarictics in style and in thc tcnipcra-
nicnts t)r attitudcs of indi\idual i)rat titit)ncrs
Icatls hini into pcrsuasivc and untlulv knt)ttctl
attcnif)ts at prt)ving that thc dissinular rcalh
isnt. or that an antithcsis is but a jKiratlox.
. . . forinally thc winding path antl thc Serpen-
tine lake are the equivalcnt t)f Ht)gartirs l.inc
of HeautN. that long, gentlc tlt)uhle curve whith
dominatcs one kind of Knglish art fn)ni the
Detorated style in archite(ture tt) W illiani Blake
antl l)evt)ntl. C)n the other hantl. whcre Ht)garth
himsclf nses these motifs t)f llic gartlcn to illus-
tralc his pt)int, hc says that thev "Icad the eve
a wantf)n kind t)f chasc." Ihat is clcarlv soine-
ihing tlilfcrcnt. ...
"Let nt)t each hcautv c\cr\ whcre hc spictl
\\ hen half thc skill is dcccntlv tt) hitlc.
He gains all pt)inls who pleasingK (t)nft)unds,
Surpriscs. varies, and conceals the l)t)unds."
These lines are froni Alexander I*t)pc. and though
l'opc was a leadier t)f reason. and though it was
I.ortI Biirlingtt)!! wht) csta!)lishctl in IHtli-cenlurv
Inglantl thc darits antl thc tuhic siujplititv t)l
l'allatlian art hitct iure. Binlingtt)n pt)sscsseti at
( hiswick antl I*t)|)e at Iwitkctdiam twt) of tlic
hrst ])ii turcstpic garilcirs t)l Inglantl.
Ihis st)rl t)f üfid-yct cxpt)sitit)n inexitahh Icatls
tt) (pialif\ing ext ursit)ns intt) thc spirit t)l tlic
tenliUN uiuicr tlist ijssit)n. nuuatit)ns t)f inhan
grt)wth. (t'ltic Clements in British genius antl
so h)rth— all t»r \\hiih fastinates. while rcmain
ing at thc lc\el t)f (t)n\cntional detcrnnnisin.
I \vt)ntlcr if thc t(»Mipulsit>n lt)r rcst)l\ing dis
paritics l)\ dcuNing thcni. t)i at Icast hx rcsisiing
thcin, is not an Angio Saxon t)l)scssit)n— inhcritetl
l)\ Aiiicriians ihit)ugh Pm itanisni -dcri\ed froin
an ahitling fear t)f thc ps\(ht)lt)gital (whith
niight. alter all. Icatl tt) irt)n\!). a siul)l)t)rn linii-
tatit)n t)l thc tultural tcinpcr with whith Pcxsncr
is nt)l prcj)arctl tt» tt)nlcntl. I ainc sj)t)kc t)f a
'*|)ritlt)niinant nit»tif" in a (ulture— as in an
intli\ itlual — whith. gt)\crniiig its art exprcssit)n.
is thc special st)urtc ol its glt)r\ as well as t)f its
tlt)t)in. I he distintti\t' natit)nal asset t)f thc 1 ng-
lish is social itt iprot it\ —purthasctl at thc cx-
j)cnsc t)f iinaginatit)n. an altrihutc tlc\('lt)pctl.
nit)rc t)ltcn ihan nt)t. I)\ tränst cntlcncc t)f thc
social. PaiuilN t)l iinaginatit)n has heen fatal to
British art antl a inainsla\ t)f British (i\il (on-
tlutt. antl t)f its gt)t)tl taste in prt)sc antl furnitiirc.
( I lie Kli/al)cthan tiraina iniist hc a(cc[)tctl as
well as cxtcj)tctl: if it is thought tt) tt)nstitute an
insuiicrahlc harricr to thc prccctling gcncralilN.
" .Nothing.' as an astulc Irish pt)cl saitl. "is per-
fecl. I hcrc are lunj|)s in it.) I hc tpiintcssential
s\nd)t)l of l)()th the \anit\ antl thc fitness t)l
British eiiij)irit isni untlcr trial is |t)sci)h (.t)ii-
ratl's 'l'\p}i()()T], whercin (.a[)tain MacW'hirr is
"tt)t) stupid" tt) csiiniatc thc ft)rccs against whith
hc is striving. antl iherehv hrings thc sliij)
ihrt)ugh. \t)w thc prctlt)nunant niotif t)f an\
social group is ratit)nal. if t)id\ in thc scnse that
it t)pcrates hy a set t)f tacit (t)n\entit)ns. But thc
ortlcrctl siuface can he niaintainctl t)id\ l)\ snh-
liinatit)!!: st)niewherc, st)oncr t)r later. thc suj)-
prcssetl elcmcnts in cxj)criencc. thcrcft)ic in art.
will rcveal thcmsehes. or erupt. ( Ihink I nia\ hc
ft)llowing a half-reniemberctl hint froin a Jungian
pro])t)sitit)n licrc.) .\s a singlc cxaniplc. thc oh-
Ncrse of Japanese iinpassi\itv is self-discinl)t)wel-
ment t)r. extcrnali/cd. raf)c. In Japanese ait. thc
tcirsit)!! is apparent in the fcrt)(it)us arahcstpic
antl in thc picxalcntc t)f thc re\cngc thernc in
Kahuki tlrania.
I he appli(alit)n tt» i'cxsncr's thcinc is surch
perniissible. Ihere is nt)t st) nuuh (t)ntradi( tit)n
as pavnient deferred in thc dual phcnt)nicnt)n
t»f British saiiitv aird thc tlark ct)rncrs dhe (t)al-
age hell and the Kcn\a tt)lt)n\): thc tt)ininon
scnse antl thc (.t)thic reaclit)n las in thc tult of
thc nivsterv storv as well as in tathetlral trän
septs t)r Ivric [)t)etr\): the usual primae \ of thc
I)t)ttt)r Jt)hnsons or the Rc\nt)ldscs antl thc less
fretjuent appearance of a Hogarth. a lurncr t)r
a I). H. Lawrence. C.irstom tcna(it)usl\ asscrlctl
antl thc tcrrestrial pt)litel\ t)rtlcrctl ncctl tt) bc
rcndntlctl that thc st)cial tt)mmitnicnl is alst) a
tlen of beasts, that it is pt)ssible to scnse in thc
atmt)sphere somcthing more (or other) than
tlclitatch obscrvctl tints antl texture t)f rain
(It)utls antl inscril,»ctl trces. and that st)cial rela-
lionships attpnrc iheir niost \ital soiuccs from
(arnalitv.
Pe\sner. hiinself. offers the reallv tclling ancc-
tlt)ic t)f thc British gand)it. crucial antl endear-
ing. \\ hcn Blake coinj)liniented Constable bv
extlainiing. "\\h\. this is nt)t tlrawiiig hut in-
sf)iratit)nl" (;t)nstal)lc answercti- tlrilv . we niay
iiiiaginc— "I ineant it ft)r tlrawing ' . . . Antl with
wlit)m tlt) WC laugh''
\IR\<)\ ^t)l Nt,
l<av«>iiiia Mosiiies. '/'c\/ />^ (•ius(l>l>( li(>vi)ii.
New ^ork (.laphii Soticts. S'JO.OO.
SiNc 1 ka\cnna. alt)ng with Rt)mc antl Salt)inta,
is onc t»l thc printipal tcntcis in whith
inipt)rtant mt)saics frt)m llic carK (Inistian tcn
tmies still sur\i\c. il is nt)t surprising that it
shoultl pn»\itlc l)N itsfll thc suhjctt h)r this \cr\
hantlst)mc antht»log\. I)c\t)tctl lo mt)saiis t)f the
Idth antl sixili tcnlurics. thc book tt»ntains lortv-
si\ largc antl beaulilul tt)lt)r rcprotlut tit)ns. a
likinic at thc wcalth \\hith that tit\ on thc
\thiatit hcgan to attpiirc whcn it bctamc thc
wtstcrn tapilal t>f thc Rt)man I nipirc untlcr
H(»nt)rius. It sttins uidt)rtunatc that st)mc of thc
builtlings wcre nt)t mt)ic lull\ rcprcscnlctl thc
Baptistcr\ t)f ihc Arians antl thc Basilita of San
A|)t)llinarc in (lasse recci\e t)nl\ thrcc i>latcs
a|»ictf— but in what must ha\c hccn a very
cx|>cnsi\c \t)lumc tt» prt)tlutt'. t)nc \\t)ultl nt)t
ha\c wantctl thc amt)unt t)f spate gi\en to the
( liurth t)f San \italc curtailctl. It prt)\itlcs st)mc
ol thc int)si beautifui pages in thc l)t)t)k, its
laiiictl pancis t)f thc l-.mi)crt)r Justinian antl his
wilc 1 lict»dt»ra antl its strikinglv Iau\c tlctail t)f
\I(»unt Sinai amt)ng them. Ihere are. as well.
st)iiie fmc pages t)n thc Basilica t)f San \pt)llinarc
N'iit)\t). whith pt)ssesscs t)ne of the earlicst antl
nidst toniplctc scrics t)f scenes from thc New
Itstamcnl. Ihc l)t)t)k itsclf. tlcsigned b\ r.ugcnc
\I. I-.ttcnbcrg antl cxtcllentiv ))rintctl bv Amil-
tarc l*i//i of Milan, is a finc spetimcn t)f art-
l)t»()k pid)lishing antl a tlistintt ]>lcasurc to lt)t)k
I hrough.
Ihc tcxl l)\ (.iusci)i)c Bt)\ini tht)ugh it con-
taiiis rclcNanl histt)ri(al inh)rmatit)n antl plcas-
aiu tlcs(ripti\c passages ft)r man\ t)f thc i)ancls
whith are nt)t rcprt)thut'tl. is unlortunatclv tt)n-
fusing. It gi\cs no tlcar itlca ol thc builtlings
in whith thc nn»sai(s are ht)usctl. tht)ugh that
sccms to bc onc ol its iutcntit)ns. nt)r tlt)cs it
ui\c an\ tlcarcr itlca t)f thc sctpicncc t)f thc
pancis thcmsehes. I hc scttit)ns tle\t)tetl tt) tat h
t>f thc scNcn builtlings ct)verctl in thc \t)lume
rcatl likc a scrics t)f rantlt)m nt)tcs strung alt)ng
in |)aragraph ft)rm. I hc rcatlcr is hclpctl st)mc-
what l)\ a ninnbcr t)f blatk antl while re|)roduc-
tit)ns f)l intcrit)r antl cxlcrit)r \ iews.
I AMKS K. Ml i i(i\v
National (;allerv of Art, Was^hington, h\ Joint
]]'<ilf{rr. Metropolitan Mus^euni ^v Theodore
/ious.sraii. J). National (»allery, London, h\ ^n
riiilif) lictid\. The Louvre /:v Miltoii S. Fox.
l'ffizi i>\ I'ili{>l>o Rossi. The Praclo l>\ lUnry li.
W'chlf. Harrv N. Abrams. Lach \t)luinc .S7.9.5.
Ct)MPARr Burckhartll's classic Do Cicerone
wilh this new sctjueiue of large-si/c ))t)rtft)-
lit)s t)n thc trcasuics of F.uit)pean antl American
collcclit)ns. Ihc "(.uide tt) thc Fnjt)vmcnt of
Italvs Art." as Burckhartlls \t)lume was siih-
litlctl. ran tt) tlt)sc tt) a half niillion wortls, but
(t)ntainctl nt) illustratit)iis: thc travelcr— nt)tal)ly
ihc niellH)tlital (.erman tt)urist — was expeclcd tt)
coutimied ort pnil,e 3S
Alhrvvht Dürer^ si i i -pokir aii : jnnn I lu- Lt)uvrc. flarry W Ahm
ms.
36
ARTS/AW /'V37
SPECIAL BOOK SECTION
coiititiucd front püge 3ö
c;iri\ llic l)iilky volmiic lo (Ijc llli/i, ilic lircia,
Ihc (hmclics iiiul cailicdials, aiid icad llic
IcaiiK-d comiiit'ius wliilc lacinj^ ilic individual
paintiiig. In thc Al)riiins sfiics, liowfvcr, cvciy-
lliiii}^ jK)ssil)lc is doiic lo savc llic purchascr a
trip, cvcii U) such casil\ actcssihlc placcs as
Washiiioion 's National (.allciy or New Vork's
Mc'lropoliian Museum. In cacli hook lic can
vic'w l\vcnt\ lour (in ilic Prado hook, Iwcnty-
livc) |)aintin«;s in vcin gootl coior icprodiiclions
lippcd in, plus ahoiil sixlv iiior' in occasionally
hhincd sniall hiack and-whilc illuslrations cin-
hcddt'd likc raisins in ihc k\t.
I lu'ic arc scvcial novcl and ustful tcaliucs in
Ihcsc poillolios. 1 hc huildings ihcinsclvcs are
shouii. and whocvcr alladics associalions of ihe
ancit'iu and iiusiical lo ihc nainc "l'iado" will
hc iistonishcd lo scc a sohcr nco-(.rcck sliuctuic
ol ihc cails ninctccnlli tcnluiv. I hc piohlcni of
rcj)roducint>; vcry loii^r hori/onial picluics (c.g.,
Ruhens' JudonicfU of Paris or rinioicllo's lialtle
hi'tnu'cfi Turks and Christians) or ol a iriplsch
(c.<^.. liosth's C.ardi'n of Dcli<^lils) is solvcd hy
toldin^ in thc pagc insicad of rcducing ihc re-
prodiiclion lo llic formal. Details oi soiiic major
pidurcs arc rcprodiiccd in color and/or l)lac:k-
and white. I hc la\oul is pleasin«i^: a j)i( ture lliat
does nol lill a page is not, witli slavish rij^idily,
tonlined lo thc centcr of thc pai»e.
Still thc voluines can onlv whel our appclitc;
thc\ arc no suhslitule lor llic niusic thc lUirck-
hardls and thcir suctcssors liavc hcard on hc-
holding a niaslcrwork in its proper almosphcrc.
Onh scleelions tan he given. In thc Prado vol-
iimc, lor instance, wc scc onlv eiglit of thc 114
Goyas, oidv live of tlie thirlv-iwo Kl Gretos
owiied h\ thc niusemii. Evcryt)nc is likclv lo
niiss a fa\(Hite, ycl lie will hc compensaled hy
thc discoverv of painiings llial he niay havc
overlooked. or j>aid loo litile allcnlion lo, so iar.
Ihc volumes are niosi lavishlv illusiratcd for
thc adual numher of jxigcs (lotaling sixlv). Thc
tcxls— four l)\ curators or dircclors of thc insli-
tutions— arc. inevitahlv, (piitc sliort. I he inlro-
du(lor\ essav cc^vcrs thc hislorv of thc gallcry,
niorc intcrestinü^ wherc thc huildinu's storv is
romantic and long {inde thc Louvre, whicli may
go hack lo a lifth-tctitury Frankish tower), Icss
fastinating wherc thc institution is of nine-
Iccnth cenliirv origin, or, in thc casc of Wash-
ingtons .National Ciallcry, was opencd only a
fcw vears ago. lo lill thc allottcd spacc, Curator
(now Direelor) Walker teils thc littlc-known lale
of thc capilal's carlier hrave altcmpts to actpiirc
an. I hc lirst direelor of thc Gallcry's predeces-
sor. thc .National Institute, also scrved as Sccrc-
tary of War. lo sprcad taste, hc nrged— fortu-
natch in vain— that copies of pictiircs. statnes
and mcdals coinmissioned hv Congress hc dis-
trihuted all over .\inerieal In our tinic, three
of llie six gallcrics were threatened with coni-
plele destruetion: thc I'rado was honihcd diiring
thc .Spanish Civil War. thc UfFizi and London's
National Gallery wcrc hit during thc Second
World War. Yet all tlircc wcrc ahle to rcopen,
and cvcn to "profit" from the catastrophe. As
Sir Philip Hcndv writes ahout his niiiseinn in
thc hcarl of London: "War damage . . . has
hroughl opporlunities for rcconstruction. and six
iiofiivr vaii dvr Werden, mrcin and chii.d;
frutn Ihc Prado, Harry N. Abrams.
38
ARTS/A/fl> 1957
ol the gallerits worsi alle( ted liave hcen com
plctcK reinodeied :ind aii (onditioned."
Ihe (oinments on the pidurcs here tontain
all that's fit to know, iiuluding (sign of our
tinie!) in the inslaiue of thc Alba Madonna in
formal ion on all the prices |)aid for tliis Raphacl
helween IS'JO and WKW). Ihe dioice of jMttures
mighl he admired were it not hn the nionotonv
with whi(h (crtain mastei j)ie(('s tum up again
and again. to he seen in every histoiv of art, and
familiär to everyone. Oiie iieed nol loallie thc
Mona Lisa as Dudiamp or Pidihia did to jjrefer
mceting on a (ONcr soiiie less widelv cxploiled
and ahused masierwork. lo reprcsent the Anier
iean genius in ihc (olor plates. instead of the
nierely amiahle hiiigh;iiii a moic powerfui and
signifi(ant arlist mighi iiavc hcen seleeted. sudi
as RNcler, whose woik IxUh the Melroj^olitan
Mnscinn and \\ ashinglon's National Gallery
havc in ade(|uale sampling.
Signiluant for our ri' cNalualion of cighlecnth-
and ninelecntli (cntuiN art is the indusion of
Gorot's lieljr\ at Douai: the se\enty-vcar-oI(l arl-
ist had retmiied from the— oikc widcly admired
— vaporons woodland s< cnes to tJic formal clarity
of his Start, hiit now melling his color with Im-
pressionisl ahaiidon. Hogarth's delightfullv fresh
and painterlv Slirinift C.irl is shown in place of
his niorali/ing salircs, and three of Daumicr's
long unsalahle paintings are on view.
Thc dexicc of pasting iirstcad of scwing thc
pages löget her hardlv insurcs thc durability of
hooks. Ihe |)ages come apart with a minimum
of handling. It is to hc hoped, lliough. that in
ncw printings this nuisaiuc will he ovcrcome. A
fcw pellv details mighl also hc correctecl: Man-
legna was ncitlier a "X'enctian ' nor a '*Paduan."
hnl is gcnerallv listed as a North Ilalian painter;
1.1 (ireco's Christian nanie was cithcr Domcnikos
or Dominien, hnl nevcr Domenicos; it shonld
hc Dürer, not Diircr. Since all titlcs are given in
Knglish. Hals' ('.\f>s\ C.irl need not he called l.a
lioliemicfuw. Yet on the whole, our verdict is
aflirmativc: ihese volumes are holh instructive
and füll of (pialilies that Berenson would call
"life-cnhancing."
AI.FRl Ü \VIRNtR
Lort^n/u (;hilierti b\ iVuhard KrautJicimer in
coüaboration witli Tfude Krautlieinier-lless.
Princelon University Press. $:U).l)0.
SiRANc.i as it may sccni. ihis is the hrst com-
prchcnsive study in Knglish of Ghihcrti's
lifc and work; for while the artist's oeuvre is
fullv illusiratcd in a Phaidon volunie edilcd hy
I.udwig (ioldschcider, we havc beeil lacking a
[ulins von Schlosser, whose cdition of the Com-
niftilarii still forms the hasis of all serious
Ghiherti scholarship.
Best knovvn as an architcttural hislorian, and
particularlv as the Compiler of a nioninnental
Corf)ns of early Christian hasilicas in Romc,
Richard Kraulhcimer has devoled more ihan
twü decades to thc study of the Floren l ine jack-
of-all-trades. whose activitics extcnd well bc-
vond thc lield of sculpture inlo those of painl-
ing. designing and architecture. and who, likc
Ben\cniilo Cellini a goldsinilh hy profession,
gave a dctailcd account of his own achicvenienis
in what may well hc called the first modern
autobiography written bv an artist.
I he dearlh of twciitietli cenlury literaliirc on
Cdiiherti (an parlK he explaiiied l)\ thc fac I
ihal Ihe ailist's work is so weil aulhcnlicated
that it leaves litllc rootn for critical specuiation.
liul ihere is also a niu( h (leepei rcasoii lor (»ui
indiflerence toward a inaii who, aflcr all, was
one of thc central ligures in thc c iillmal lifc ol
MoiciKc during the lirst half of thc (Miattto
(cnto. I he iinporlaiKc of his role. h\ thc vvay,
is clearK rellec ted in the long, aiid paillv legend
ary. lisl of his (ollahoralois and Workshop ap
prenliccs. In our own (la\ . that is to sav. (.hihcrli
is ollen considered as beiiig loo i cattioiiarv an
artist to deserve the sarne alteiilioii accorded to
thc innovators of his gcneration. In the estiina-
tion of maiu of our inodern sc holars, Gliiherli's
relation to Donalello or hrunellcsc hi appears lo
resemhle that of Masolino and Masaccio.
While nol outrigh.lv rejc(ling ihis peculiarlv
loj)side(l point of \ iew of a gcneration whose
laste is no longer ihat of the Komaiilic ists and
the Pre Raphaelites, Krauthcinicr justK cleplores
the inadecpiacy of an approadi that is liarcily
justified bv the art-historical fads as we liave
ihem hefore us. lully aware ol thc preclomi-
iianth (.otliic anc;estrv of Cibihcrti's stvic, he
neverlheicss sees to it that nonc of llic progres-
sive features of that style, howcvcM irrcgularlv
and inconsislentl) employed, reinain imnoticed.
It is precisely this coexistence of iwo cssentiallv
incompat ihle Clements in Ghihcrti's art which
he undertakes to define in his critical stndy.
In an excellent c haj)ter on Ciliiherti and the
rrccenlo, Krauthcinicr traces thc cjrifi;in of the
sculjjtor's art to thc Sienesc inaiiiier of })ainting
(as exhihited in the works of Aiiil^rogio I.oren-
/elli rathcr than in those of the more suave
Simone Martini) as well as to thc Iianco Fleni-
ish hook illustrations in thc International Style.
It is hv referring lo these Iwo sourccs that oiir
aulhor explains the ■"melodious svvectness, the
precise workinanship and thc precious rcline-
menl" of (diiberli's carl\ st\le. as it appears on
the North Door of thc Baptisterv. In the rclicds
of the second door, on the ollier haiiil. anlicjne
modeis arc more frecpienti) encüuntercd, and so
arc certain adapiaiions of linear perspective and
otlier scientific modcs of artistic construction.
Yet cvcn in these (ialcs of Paradise— as .Michel
angelo is said to ha\c cbrislcned tlieni— "figures
alwavs form the hasis of design: scltings . . . are
relegaled to the backgrouiid: cvery objcct is
drawn with ulmost claritv; volumes rccede in a
succession of planes witlujut intcrruption; sj)acc
is infinite, terininated hy a gilded backdrop." In
other words: Ghiherti nevcr aspired to be one
of thc ncw sct.
As for the ancient inodcls available to Ghi-
herti on the sarcophagi tlicn to he sccn in thc
diurches of Romc. Florenee and Pisa and in the
small numher of anticpie scidpliiics known to
thc carK Renaissance and parllv describcd in
his Connnentürii, they appcar in the panels of
the second door onlv lo "illustrate the iinagina-
livcness and almost dangeroiis virtuositv with
which Ghiherti . . . played on anlicpic ihciiics.
I lom one anlicpic motivc he would devclop
two, three or possihlv more variants. each retn-
inisccnt of the original in one or two of its
features, but never in all of ibem and ne\cr in
the same wav." Henec the difliculh of cstahlisb
ing the identity of any of these prototypes. None
of thc known anticpics. for instance. can be
idenlified as the exact inodcl for ific Isaac of
ihe (ompelilion icdief; and \et il is perfedlv
oh\ ioiis that su(h a model musi lia\e existed.
ll is similai with the heautilulb poised figure
ol Samsoii. whi(l) Krautheimei shows lo he re
lated to a lleicules on the jambs ol the Porta
dclbi Mandoibi, and whidi X'asari, in his undcr-
standahK (ool \ ila ol (.hibeiti. singles out lor
piaise in thc light ol its derivation liom just
such lleicules protot\|)es. I hiis the liand iisf of
anticpics wl)i(h the authoi has appended lo his
inonograph i)eais the stainp of a preliminary
(atalogue ol su( h works as cithcr appeared in
the now lost libri stadial um of the artist or
were owned las l,eo Planiscig. in another mono
graph Oll (diibcili. suggcsls) hy (.hihcrli the
(olleclor.
In spite of the inaiiN repetilions which his
nielhod forccs upon him, Professor Krautheim-
er's ridilv illustiated and exhausii\clv docii-
iiiented slud\ will do miah to dissolve the
dicholomv of progressi\c' and reactionarv art
which modern scholarshij) has hcen so especially
lond ol apphing lo the iransitional period he-
tweeii the .Middle Ages and the Renaissance
proper. Ihc aulhor's maiii conlrihuiion. hcjw-
ever, lies less in thc thoiough, not Icj sav pains-
taking, evahiation (d documentai\ and stvlistic
cvidciKc than in the darification of certain
hilherlo neglectcd aspe( Is ol (.hiherli's art: in
thc suhlle aiialvsis of ihe laiiious (.usmin pas-
sage from thc aiilohiograph\ . in the discussion of
inlhicnces and in the elucidation of certain trends
imdcriving the seleclion of hiblical matcrial
for thc Gates of Paradise (notahly thc Solomon
and Sheba panel). lUit, as Professor Kraulhcimer
himself is the first lo admil. mucli remains lo
he done before we can delinilelv teil how inucli
of (diiherli the man is (onlained in (.hihcrli thc
arlist; lor unlike his ralioiialistic conlemporaries.
(diiberti was cithcr uiiahle or uiiwilling to let
Ins inlellecl interfere willi his art.
III RICK WI ISSIFIN
Abruhain Hatliier. Introdu< tion and Notes b\
Allen S. Weller. l'nivcrsitN ol Illinois Press.
To roi'MFRAcr what he (alls "the dust, the
acc umulations of maus negative ihinking,
falling over all, the greal cloud of thick obcur
isiii likc a diil\ Neil keeping out the light from
iiiaiTs cNcs. mind. spiril," Abraham Raltner has
cicaled the sMiibol of the W indow Cleaner. I bis
is a lrans|)arent ligiire. worked out in inan\
drawings lo dilferenl degrecs of explic ilness,
stretched against a glow of multicolored glass
j)anes. 1 his. Raltner has said. is (iod, Clearing
awas ihe dusi that obsciires mairs vision. Likc
ihe Seekers, also in Rallner's iiuenled iconog
rapliN. it is a conccplion that has original force.
With tlieii mcdieval overtones of color, thc scries
of Window (leaners and Seekers arc incist char
acteristi( of Rallner's stvlistic synthesis which is
deepb iii()ti\ated h\ a siiong tnxstiffne.
Fxplosivc and une\en. thc nature of holh the
st\listic s\nthcsis and thc nixstique is now more
fullv acccssihle ihroiigh this porifolio. replete
with iniiniatc sketdies. Made up (d' an iniro-
diKtorv text l)\ \llen S. Weller, whidi is largeh
a stilching togelhcr of Rallner's own fiagmen-
larv vvritings, and twcnlv-four re|)rodnctions of
the artist's work in porifolio. this pnblication
39
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Please feel free fo consu/f us.
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Painfings
WALTER
KA
YS
BERTHA SCHAEFER • 32 E. 57
is A ( InoiKilo^icil s(>l(-( t ion. lü.SO ^(i. lli;il dis
|)(-ns('s will) l>i(>^);t|)lii(al intoriiKition and ((iiucn
liaU's on llu' ailisls work. It rt'\r;ils ;i in;in who
(Ines noi ix'licM' that "tcchnicil spcc iilalioiis,"
howt'M'i |)r()V()(ali\t'. aic cnou^li. i)iil uho is
iiilcnsi'JN (oiut'iiU'd uilh tiiccndmin^ |)n\\tr of
ilic (ladilional iij^iircs ol thc Old I (staiiicnt .
and uho has ahsorhcd into liis slicain ol \isnal
(<)ns( ionsncss {\\v (Inistian Images kll along
ihc IrtMuh lands(a|)c. so tlial his |t'\visli hcri
tage (oinhincs with a (•othii iniagination. All ot
(IjIs cxpt'i itiKi'. in(lii(ling \t'ais of rcsidtiu c in
Paris, iit's hcliind Ins ifsponst- to l\\v American
landscapi' in tlie several iraNcIs recorded in
(liawings on tliese paj'es. \\ hat sa\es ihis kiuiwl-
edgeahle st\listi( \arietv of Rattni'i's from man
nerism re\tals itself as tlie ahilitv to respond to
a stene— to an idea— with nnahashed eiuluisiasm
and fei Nor.
I he \olnme Starts uith a network of mesmer-
i/ed ink lines. Iloatiiig and rhvthmi(: Shdlos
(WVM)). At the \erv earliest. Rattner seeins to
ha\e \)CL\\ {oncerned to uineil an inner inten
sitv rather than anv e\j)e(te(i (ontonrs in his
lines. Along the American highwav. traxeling
witli llenrv Miller, he |)oured a diarged giaj)hie
\italit\ (and (onsiderahle \('ri)al forcc) into draw
ings on ihe s(ene. In this eolledion the dilfer
eines in approaili aie extreme: lunlx Mortiifii^
in \ru' York is a \erv |)ale sketdi with ha/v
ink lines: Dik htowii, rcuncsscc, is intricateh
worked. with dark hilis; and a third is no draw-
ing at all l)ni entirelv (alligraj)h\— ac tnalK an
ori<»inal poem spread o\er a map ol ihe easlern
part of the l'nited States written in red and
l)la(k: "W'hen we met again and were onee more
together"— a doseh pat ked stripl of eadeiued.
free llowinj> phrases. of praises to the land. and
ol words that snalched Rallner's faney— "]>ea-
nnts, skviine. Ahe Lintoln. (orn. diewing gum."
Having no rlivme and no ol)\ ions reason, the
words simj)lv retord tlie (onsc ionsness of a hnm-
ming jonrnev in an old Bnick. and \i\idly re-
create it— a (()nd)inati(>n jonrnal-poem and e\-
periment in lavont.
Althongh the Sandburgian poem rej)resents
a tonr de force of graphie design in Rattner's
own natnral penmanship, it is hy no means the
onlv instante of his verhal |)lav; he is highly
(()irs(ioiis of calligraplii( effeets, and oflen words
are intorporated to ami)lifv a drawing. On tlie
(over, tliere is a i'ropliet, eaiight in a hia/e of
st'llow siin. whose eyes are alive with distovery
and whose ihonght Rattner. at the hottom of
the page. in his jagged way. has iised as a de-
sign element. nnuh like the spiked outlines of
the fa(e: "Ihe ri\ers. the monntains. the sky,
the sea, the earth. air. the stinks. ))lanls. par-
fnme of llowers the trees in the air in the soil.
the aninuds. hirds. hugs. the fishes and every-
thing (reated . . . («od exists." Ihe strong role
of words is perhaps more than an idiosvncrasy
in Rattner; their nse (onlirms the fael that his
prima! nrge is indeed a symholie one. W'iliiam
Blake, after all, (an he pointed to as a kindred
spirit, intontroMit ihiv motivated as a mvstie
desiring to make drawing and poetrv one image.
Rattner. possihK. is not snfli(ientlv (oidirmed in
this (lire(tion to inake the mosl of it.
In |)ni(' drawing Rattner's spontaneons force
(an stiain the \ery margins of the page in
strength of contrast. Sonietimes highly delitale
and detailed. as in the erosshatehed Fiii^iLvc in
f'lanir ( H)r)2). hnt also lightniiig (pii(k. he nses
40
the pen like a stolding tongne in Christ Snr-
yonudcii h\ Ihonis (ll).")!.') or. from K/ekiel Wl ,
Ml. Ihc \'(iU(\ of I))\ /iotics, in a (low of
jagged streaks. Ihree reprocha t ions ol oils are
also indnded. I luv are e\i(leiue of Rattner's
snperl) (oloi sense. and. of the ones (hosen, two
hear ont the same religions spirit as the draw-
ings. Ihe paintings are dcarly |)atterni'd from
stained glass in their ridiness and in the reli
ante npon a paneied (oherentt'— A/o.svs and Job
parti( niarlv: Coni/xtsition irith OhI Shors, Xo.
2. is looser and. in its inipointetl ahstrat tion,
more of a tolor extra\agan/a. (hiile the oppo
siie of the ink tlrawings. whith are at their best
harsh and trilital. Rattner's svmpht)nie ridies
of tolor attnally ontshine (and sonietimes nnitl-
dle) the meaning he wishes to tonvev. An ex-
t rennst, he has a tendentv to overdo too the
lignre with stretthed or twisted arms; hnt even
as the theine hetomes repetitions. he seems to
ha\e the passion to deal with it persistentiv, to
seek \ariety— alheit. sonietimes, without hiillitieiit
tiarilv of pnrj)ose.
lo retogni/e that the ingredients of Rattner's
ait ritassoestpie form (lestin(tion. Romanestpie
lignial distortions and traditional religions
theines— are readih iiitelligihle and honiid to
he j)oj)nlar in oni s\ nihol-hnngiv limes is not
to dispaiage thein. Rattner's Images are \iolent,
toitnred and exhilarating all al the same time,
and. siiue they happeii to hear witiiess to tlie
(ondition of man's religions sense in an environ-
ment hostile to it. they are as exaet as they are
erratit. As snth, ihev ha\e their momeiit as a
gennine tontempoiary witness, and it is litting
that Rattner's exjdosi\e gropings for a visioii —
and ottasional flashes— and his large sense of
landstape— are availahle in this et)mprehensive
monograph form; tlie tolor reprodiution is es-
peeially heantifnl. In tlimensions appioximatelv
seNtnteen hv thirteen indies. this is a generons
and nnnsnal pnhiishing \entnre in the United
States— to imest so liea\ily in the works of a
tontemporary artist. Fortnnatelv, Rattner has
the snhstante for it, so the voluine inay set a
|)re(edeiit. Tor laking the risk, the University
of Illinois Press is to he (ommendetl.
Sl'ZANM. lURRFV
Modern Japanese l'rints b\ Ohx'er Stniier.
Charles F.. Iiittle (lompaiu. ST. .')().
Ol IMK Si xii.iR. like so maiiy t)tlier soldiers of
the Ameiitan Arni) of Ocenpation, heeame
attrattetl to aiitl e\eiitiially tlee[)ly itlentilied
with Japanese life aiitl tnitnre. He is ])rol)al)l\
the leading tolleetor of modern Japanese artist-
exet nteti wood hiotk piints. He has written what
is pia(ti(ally a hiographieal dittionary and en-
tvtlopedia of the art. from its hegiiming at the
end of the last eentnry to the preseiit. Manv
Wt'sterneis are familiär with the modern ailisan
prints. an onlgrowth of lratlitit)nal ukixoyc, tle-
signetl hv artists like Hasni Kawase, Shinsni Ito
and the eider ^'oshida. Ihev are deeorative,
(ommertial. often sentimental, and of nt) great
artistit importaiue. W hen Shiko Mnnakata won
a (irst pri/e for artist-exeented wood-hlot k prints
(the Japanese eall thein sosalm h(nii>^(i. "treative
prints") at Säo l'anlo in H).').') and was featnred
in a l SIS film, mtniern Japanese prints hetame
World famons. Ihe (reati\e prinl is attnally a
ARTS/.\/^/v A^^5
p/
Western innovatioii. Ihe traditional print was
onlv sketdieil and snpei\ised |)\ tht- artist. At
the end of the last (enUn\ Japanese artists stndy-
ing abroad distovered that Western ait was
deepK iiiMnenttd bv ii/u\(>yr, and that. nnder
Ihe mistaken noiion ihat lh(\ were artisi e\
etuted.a whole mo\t'menl of (leative wood bNu k
had giown np. Not lo be oiitdone by their ind
lalois. they too took np llie medium. Ihe fonnd-
eis of the movement, and still amongst the best
artists. are Kanae ^'amamoto. iniul) inlhiemed
bv artists like MiiikIi and (..ingnin (imloiln
naielv iiol bv the lader's wotuh nts). Koshiio
Ondii. originally a laiue ailist and after the
Se(on(l World \\'ar a de(orati\t' ahstrat tionist,
and l'nithi lliralsnka, the most Japanese of the
three lo Western eyes, greallv indebled lo the
theap popnlar blatk and white linddhisi prints
(»f both China and Japan ( I lie nearest parallel
in the W fst is the "hob pic Iure " of the Mexiran
peasantrN.) Ihese ihree artists. or anvwav Ihese
Ihree tendtncies. still ulominate ihe (ield t(Mla\.
I Ihis Saito and Shinagawa owe mndi to Ondii.
Munakata to I liiatsnka. and iheie is a host of
innre or less (le(()ral ixe. more or less eoinen
liniial the tointntinn being a pretlided blenti
ot Art Xnnvean, I-ame and Xabi stxles of the
nineties and nineteeii himtlreds in the West —
artists xvliose xvork is inexitablx populär. I do
not think this latter t lass important. After all,
there are thonsands npon thousands of tommer-
( iai artists and ilhisiralors in the West whose work
is tpiile as good — indisiingnisiiable. in hitt. I he
detoratixf t ubism of the sdiool of Ondii is. again,
too light. too (le(()ralixe. to tairv nnuh weiglil.
Ihe stluud of lliralsnka. Mmiakala, Kaxva
kann". A/etlii. Shimo/axva. Maeda and olliers is
anotlier matter. 1 knoxv noihing exasperates the
modern |a|)anese wriler or artist moit- than lo
be told that he .shonid not imitale the West hnt
stick to his own Iradilion. Siidi adxice has a
drcadfnl somid of |)alioni/ing (hanxinism abont
it. Nevertheless the adxice tarries xveight. \t)th-
ing shoxvs this more than the taprit ionsness of
tlie non-Ott idenlaTs taste in Western arl. A\ hen
as great an artist as Mnnakata saxs that his
faxorite painteis; are \'an (.ogh and Tiixis tie
Chaxannes. one tan onlv be thankfui that he
early retnrned to arlistic traditions w Iure he
coiild be trnix oriented. I am not. I shonid
confess. a passionate admirer of the wooticnt.
as snth. xvhoexer tloes it. I think it is, bx and
large, a linitkx medinni xvilh limitetl scope and
siiperütial ap|)eal. and shoxvs iip best xvlieii it
tloes not haxe lo carry the whole bnrden of
eslhetit salisfat tion— as book ilhistration. Ihere
is t)iie Ja|)anese artist xvlio in a sense prints from
xvootl blotks. xvho xvorks with old barrel tops.
xvorn-ont tlogs. tarpenters' straps. saxvn and
planed seitions of rotten xvood. and who has
doiie a lexv attual xvot)tlt iits— Sabio Ilastgawa.
He is one of the fexv artists of xvorld importance
in modern |aj)an, and he is missing from this
book, as are st)me others xvho do not fit Olixer
Statler's somexvhat (onxenlional taste. I bis is a
pity. Anxxvay. heie is a lavishlv illnstrated gnide
to the modern Japanese wooddit. Ihere are one
Inindred plates. fonrteen in tolor. and a (olor
xvootUnt as front isjiiete, aiitl in the text, por-
traits of all the artists. On ihe xvhole it makes
abont as good a slioxving as the best exhibition
of xvoodtnts xou might enct)nnter anxxvhere in
the West.
KENNKIH RKXROIH
•//
there's an
art to
scratching
THArS HOW FINE ENGRAVINGS ARE MADE.
Our appreciation of this art of scratching and
etching is proven by the quality with which we
reproduce all fine engravings.
And our quality of printing extends to allied
fields, too — all coordinated under one roof, for
quicker, more efficient service to the customer.
• typography
• prinfing
• binding
• electrofyping
• plasfic plotes
• mats
• Stereotyping
>vi:sti:rn
ni:>vsi>api<:r
^^ ^ ^ ^V >r^ ^ PRINTERS OF ARTS.
A. L. RAMSAY. MANAGER,
310 E. 45. N. Y. 17
MU 9-47O0
I
Photos hy Charles ITht
Mexico (probahly Southern Vera Cruz), jaguar, ühnee Style {500 B.C.-300 A.D.).
42
ARTS/Afr/v /05;
MONTH IN REVIEW
BY HILTON KRAMER
IDi AS lathci instiimioMs. but at thc inoiiient ol birth llic
ollspiiiii; may not bc iiimu'diatt'iy recogni/able. The \Iu-
sciiin ol Primitive Art which lias recently opencd in New
Volk, uitb Robert (ioldwater as acting director, would seeni
al first j^lancc to Iiave little to do witli the idea ol primitiv isiii
to \vhi(h artists lialf a Century a^o were so passionately (oin-
niitted. Mere the <^alleries are thi( k-(arpeted and tbe objeets
are handsomely spotliji^hted. An element ot ehic; is present.
rbe \isnal lan^iia,<»e of modern interior design insinnates
itsell eNtryvvliere. One almf)st expects to liear nuisi( piped
into tliese elegant t^alleries. Notliing, it seenis. (ould be more
reniote Irom tliat (omniitment to a Ireer, unl)ri(lled expres-
si\eness wlii(h diarac teri/ed the artists' interest in, and eniula-
tion ol, works ol primitive art filty years ago. \'et that com-
niitment lias prodiaed this nuiseuni whose exhibits are now
coiisidered as pure esthetic Statements. 1 he sott-carpeted
atinosphere is simply one ol those interestin^ period irrele-
van(ies— o?/r period irrelevaiuy— whicii will soon (if not al-
ready?) look as dated as those laded photoj^raphs of the salons
in whidi j)i(tures were lum«^ in tiers with scarcely any breath-
in.g Space iroiii Irame to tranie. It speaks more to the social
historian ol the lutiire ahout the class taste whidi Sponsors
our art irrstitutions than to the observer interested in art here
and now.
J he \irtiies of this new settins^ are obvious; they all add
up to the lad that one's attention (an h)c us straightway on
the objett, and so lor the niost part we can lorget about
the (hi(. (For the niost part, but not entirely. It has a certain
esthetie role to play, about which I shall comment in a
moment.) Moreover, one's attention is generously rewarded
by the selection ot objeets which Dr. (ioldwater has presented
for our enjoynient in this first exhibition. Dr. Goldwater is
well knowii as a critic, and this selection is an admirable
viiidication of his critical jucigment. Drawing largely upon the
(ollection of Nelson A. Rockefeller, which fonns the l)asis of
the new inuseum, and also from gifts by other notable col-
lectors, he has placed on view a modest number of objeets
whose variety, subtlety and complexity speak eloquently of
that enormous ränge of artistic expression we condescend to
call "primitive."
\\1iat is most impressive about this exhibition is precisely
its ränge of feeling. I he demonic. the violent, the erotic, the
most bi/arre and the most classical as well as the subtlest
degrees of sensibility-all are exhibited in the works on view
here. Kar more striking than any connnon deiumiinator ot
form or craft or cultural origin is the staggering abundance
of artisti( ideas, and the vitality which marks the execution
of nearly every piece. It shatters even some very sophisticated
assumptions about the meaning of what is "primitive"; for
this writer, at least, it shatters the term itself-it should no
longer be applied to so many kinds of art. however (pialitied
or vague or surrounded by equivocations. One is suddeidy
a[>palied to realize that instead of telling us anything, it only
masks our igiiorance. It is a subterfuge for our incomplete
knowledge. It reniinds us ot the extent to which our con-
ception of history has locked out some of the most brilliant
civili/ations of the past. It underscores the imperiousness of
our Western sensibilities. and exposes a kind of historical
pr<)\ in( ialism.
Tin ränge ot this first exhibition at the Museum of Primitive
Art has beeil deliberate. of course. Dr. Goldwater remarks
in his briet introduction to the catalogue that "paradoxically.
the unifying theme of this exhibition is the diversity of the
works that comprise it. Its stress is upon their immense variety
of subject, of form and of expression." Coiisider two works
induded in this "inunense variety": the large stone Jaguar
from Mexico, dat (1 .^00 B.C.-.^OO A.D.. identified in origin as
Polynesia, Easter Island, cERFMONrvi rvDDrr iuiueteentJi Century.^)
43
MONTH IN REVIEW
Aboxfe: Costa Rica Highlands. FXKinioNF.R (11)00-1500 A.D.); riglit.
Central Mexico, rai n isnakk, Aztec {1325-1520 A.D.).
"|)r()l).il)l\ Soutlicm Wia du/: ()lin(( Sulc." ;i iiri il\iii<»
si ul|>(iir.ij iin;i,i;c in ixciy iispcc t ol ils ( ()imKn;ni( t-its impos
iiijL; iiKiss. iiN (li'm()iii(, liollovvcd (;i\iii(s loi cms, ilic jau .iiid
moiitli and tctih ailiculatcd witli a lumiblv t'xad stnsc ol
tlu'ii (;ij)a(ity to dcslroy, tlic wliolc < onc cj)! ioii spcakini; to
oiir t'NC's ol a |)rolound. uiinu'diatcd. \)\\\\v i\\\v\{\ wliidi cvc ii
ilic passai'C' ol liinc ^iiid thc vvcatlu riiii; ol tlic clcnK'Mls haxc
not ht'tn ai)l(' to alicNialc; and tlun thc i*ol\n('si;m Ccrcfiionidl
I*(i(l(llc ifi wood hoin Kastei Island, datfd unccitaiidv as ol
llu' niiu'icciuh (cntury, a work ol tlu' niost «^lacious and
dciicatc silhouc'tti' wliosc synnnctric al Mal mass is lasiiioncd in
(UiM'd shapcs tlu' dcsi^n ol uhicli dtnotts an ini^cinions
Clexane (' ol sj)iiit. Ilic vora( ious cruiitN ol oiic iind dir
('\(juisitc' st'nsibilitv ol tlic otlici rcvcal dillcrciucs ol icin-
pciaincnt wliicli inock llicir (oninion dcsi<>nation as "j>riiiii-
ti\c." And as onc takcs stock ol tliis \aiictv. thc inockcrv
bcconics inoic insislcnt. Tiicrc is thc tniious wood s(ulptiirc
of a Motlicr Xnr.sing Cliild Iroiii thc ^'orul);^s ol Xiji^cria.
Its cycs arc likc sonict!iin|L; in a dcpartiiicnt stoic (^hristnias
doli: Icss \acant pcrhaps but no Jcss banal. It looks— as alinost
nothini» eise iicrc docs— a bit aiiiatcm. I hcrc is a l^hiDi lladui
Iroin \'cra Cni/— bliint, austcrc, prcc isc, uttcrly (old but com
pcllini; in its stark ininicdiacv. Onc is rclic\('d to turn froiii it
to an objcct which admits tlic eye niorc liospiiablv. And in
tliis category none is more cngagini» than thc stone fnjwts
Hcad ot Celtic origin in Fraiue (louitli (cniury B.C^.). a
inagnirKcntly (arvcd hcad with tvvo lads. cadi ociupving onlv
a sniall part of thc stonc mass, ea( h with its Icaturcs carvcd
into thc stonc in bcautilul. simple loinis. I hcrc is not hing
really dciicatc in this hcad (cxccpt possibh thc "linc" drawn
by onc's eye aroiuul the Silhouette ol thc wholc mass Ironi
some threc-quarter views). yet its over-all imagery sj^eaks lor
an artistic integrity of a kind we associate in oiu' time with
a delicaty of vision.
Iherc arc many more notable exhibits than one can name
hcrc. but I should point to sevcral others: thc Exccutioucr
Irom the Costa Rica Mighlands (l()()0-ir)(M) A.D.): i\\c Aricestral
Fiiiurr from Easter Island; the verv fine Kficrlinu; Man froni
the MississipjM Valley in rennessee; the \iolent Double Ox
I
l'oly ncsia, Ea.ster Lslaiul^ ancisiral
LRT, ilair ninctecfith (rnlun.^).
IC-
Mexico. Vera Cruz. i'Aimaii sionk. Idj'ni Style,
(600-0()(f A.D.).
Africa. Cameroon Cwrasalanth. c i i<i mo
MAI. Hl AI), iiiinelreiil/i < rtilmM' ).
<
I
44
ARTS/Mfl>' 1957
llead I lebnet-Mdsk from thc Sudan; thc Ceretnouial Hcad
from thc C-amcroon (.rasslands, a work (in wood) to wiiich
tiiiic has gi\c'n. more ob\ iously than elsewhere, a ravaged and
decayed countenanee to what must have been cleanly articu-
latcd features in its original state; and thc stunning Aztec
Knttlesnake (1325-1.51^0 A.D.).
What all of tlicsc works ha\c in common is thcir "other-
ness" from the art of Western lüiropeaii and modern Amer-
ican culture. lo that extent the designation of "primitive"
inarks a usclul linc of Separation. We are so used to making
critical distinctions aniong works in our owii tradition, and
so used to regarding that tradition as a richly heterogeneous
abundance of unic|iie works and radical artistic ideas, tliat
an cxhibition likc this at the Museum ol Primitive Art has
the elfect of underscoring an aimost oppressive samencss in
the works of art we are most used to admiring. Ihey seem
to be so fussy with personal claims. 1 hey seem to dwcll so
cndlcsslv on nuances of fecling. on rclincmcnts ol style which
are rehnements of ideas and emblems of personal, soniclimes
heroic, ambition. I remember die shock I feit on lirst secing
thc Arensberg Collection in Philadelphia a fcw vears ago:
the Prc-Columbian works asserted sucli a brüte power that
lor a whilc cverything in that da/zling collection of twentieth-
(cntury art seemed to look the sainc. It was oiily through an
effort of will that one w^as finallv ai)le to "see" thc modern
works at all. ^ et such rcfinciiicnts and nuances form the
natural habitat of our seiisibilities. They are the onlv lan-
guage in which our artistic instincts can impress thcmsclves
with meaning on our waking consciousness. riie cjuality which
I have called "oihcrness" in primitive art separates it ulti-
matcly from our fundamental conccrns, so that it can never,
I bclicve, assume a role ecjual to the works of our own c ulturc
and tradition, whatever romanccs-litcrary. aiitiiropological or
estlictic— we niay fabricate to thc contrary.
It is in the ellort to disguise aiicl domesticatc this othcrncss
that the manner of exhibition takcs on an estlictic lunction.
a rather dubious function I think. l'he elemciit ol chic in ihc
presentation robs these primitive objccts of scmiic of thcir
lorcc and power. It makes out of thcni a kind of adjunct to
onr taste. Thc Olmec Jaguar on its Braue usistvlc pcdcstal
is a brilliant display idea: it reveals a mind well stoc ked with
thc h)rnial vocabulary of twentieth-century sculpturc. But ii
has the eftect of reducing its capacity to impose itself on us.
rhe samc is true of thc handsome blue background and
special lighting provided the Ceremurüal Paddle from Kaster
Island. Its artistic po^Mcr is inevitably niitigated by this ellort
to place it entirely in our hands.
Morcover, it is not onlv this blankct othcrncss of spirit
which i^ domesticated hcrc; it is tlu ultim.itc Separation ol
many ol these works from c.ic h oilicr which is glosscd ovcr
as well. Regardless of thcir time and place ol origin or ol
thcir disparate levels of intensity, diey are all dissohcd into
a spectacle of thc 'primitive." transformed into a cocfhcient
of our current intcrests, wliere in actuality they rcpresent
many discretc traditions. Thc assumption of this cxhibition
is that this disc retencss inattcrs Icss than a gencral survc\
of what may be said to constitute thc 'primitive" in art. It is
this assumption which relates thc ncw muscum direc tly to thc
interest in primitive art by modern artists at thc turn ol the
Century, for thcir interest too was in annexing primitixc
objccts to thcir own conccrns and not in confronting tlicm
as artistic Statements in thcir own right, not in secing the
thiiiLi-in-itsclf. But half a centurv latcr thc confii^uration
cluingcs to some degrec. Fhc intcrests of a muscum arc not
nccessarily thc intcrests of artists, even though thc muscums
are now cjuick to assimilatc thc taste (if not .ilvvavs thc \alucs)
of thc artists. Whcreas the artists invokcd thc primitive as ;i
\ital counter dement to what they considered dcacl in our
own culture, the museimi adjusts the |)rimitive (insolar as it
call) to the taste of our time. It ccjualizcs what might better
have remaincd an unccjual cxpcricnce. We all derixc some
plcasurc from it. and this neu muscum promises to bc a
distinguishcd xchiclc lor this plcasurc. but .dl thc samc onc
has a nagging suspi' ion that some \ital part ol thc cxpcricnce
has been sacrilucd in ihc process.
The llüli(ni sculjytor
Man zu '> haviuir his
first one-nuni exhihition
in \eu> York tliis nmnlh
qt World House (.(d-
leries (Af»il 2I-Ma\ IS).
It will !><■ (liscw^sed in
this dejuntineut tn\t
tnouth toiiether with thc
work of (tfiother llalitni
seulf>tor. Mirko, show-
ifi;j^ at the Catherine
l'i^'itnio (iailerx iMtn
/y-juue 1 '^ ). At r/i;///;
.\ laaz Ü 's CARD! N A I r / '> ^ ^ ),
'// WOrld House.
45
European and American
DRAWINGS
May 7-June 14
HARTLEY
Landscapes and Still-Lifes
May 14-June 14
32 East 69th St., N. Y. /
WELLONS GALLERY
+o 8 pm 17 E. 64 ST.
VINCENT
GLINSKY
SCULPTURE • May 6-18
PAULETTE
COHEN
OILS • May 20 June 1
GALLERY 32 E 65
JACK LEVINE
S H O L A M
FARBER
New Pointings • to Moy 1 1
HARRY SALPETER GALLERY
—— 42 EAST 57 ST., N. Y. ^— ^^—
RAYMOND
Thru May 18
I N TZ
REHN GALLERY
683 Fiflh Ave. (near 54th St.)
-^ PAINTINGS BY
'j^ ALEXANDER
3f
KING
* MAY 6-18
* CHASE GALLERY
W
*
T Now At New Locatlon:
4-
i 29 East 64 St. LE 5-3991
3^
Special Discount to
Those Under Anolysis
Q..r3
BLONDELLE FRAMES
153 WEST 56 STREET
MARGARET BREUNING H'rites
Thr o^roults (hat h/ootn in t/ic .s/>r/>/i^ . . . DornuniilVs tnnstcrh fK)rh<iils . . . llie Sanlo/naso
prcmit'ic* . . . Pusciii atul tfic Sc/iool oj Paris . . . Sholam luirher's shiufKli fidelily . . .
i\\ llic 1)1 fach li aiul siircty of thr (Icsijj^ns and
in llic .scnsitixe selcctioii of tolor tlial accords
willi inood and tcinpcraiiu'nl. Mortovci, slic
lias diawn on a varicty of rcsources to ()l)!aiii
a widc gainnl of cxprcssiNc rlfects. Al ciincs
llu* liguic's st't'iii to l)C incr^cd in a fusion of
(oloi in vixidiicss of sj)atial cxistciuc. Wi
alwavs tluTc is prcrision of structurc, willi
inany .suhtk'tics of liandlinj;. I hc aitist pos
scssc's a gift of pro\()(ati\c' ai rangtiiu'nls foi
\]vv sitters. anangtiiunts diii' iiol to (apritc.
hui to a (orRspoiidcMuc with indivithial
liails. Hoys and girls arc oftcn difliciilt sni)
jc'cts for i"lfi'(ti\c portrailinv, hut shc cap-
imcs thf frtshncss and cliarni of adolcstcnte
uith no tingc* of scntiincntahtv. In this dis-
tinji^uished groiip theic is no chstcinihlc hct-
tcr or hcst, yct special nicntion inust hc niadr
of the tMigapfing |)ortrait of Judith Dupont:
of thc spiiitcd picsintincnt of tvvo lads, Mih's
and Edward \rxrniaTi: of the sninining up of
teniperanunt and pcisonalilv in the poitiait
of Mr. Ccrald Cidwilz. llungarian l)\ hirth,
Olga DoiMKnuh lias long resided and |)ainted
in l'aiis. She lias held exliihitions prcvionslv
in this countrv, hut this is her only one extlu-
sivelv of portiaits. (Portraits. Inc., Mareh
20- April ü.)
0.\NTOMASC), a W'iietian artist who has re-
^ ceived vvide acclaini in Italy, is now liold-
ing his lirst exhihition in this (ountry, con-
sisting niainly of landscapes on vast can-
vases— the si/e so nuich in vogue with con-
teniporarv ])ainters. He is, however, ahle to
Cover these large areas with coherent if com
plex designs. con\eying sensitive response to
Visual experience. It woidd he idle to expect
these personal translations of things seen to
conforni to ordinary normal vision, for tfiey are
hoth emotional and cerehral iniages evoked
through the aitist's sensihilitv in intricatelv
disposed planes and scintillating color. While
the spontaneitv of these free-flowing designs
is apparent, there is also an ohvious inipres-
sion of the intelligente that has controlled
theni; thev have passed through the alemhic
of the artist's imagination into a new. com-
pelling interpretation of realitv. principallv
l)ecause of their color. Ihey recall Van (iogh's
Olga Dormaiuli, i-ktkr (iidwiiz; al Portraits, Inc.
A N iNFAi.i lui.i harlMuger of spring, inore
-^^^ reliahle than weather reports. is the group
show. (iroup showings possess a special ap-
peal. ft)r the artists' works ohtain an aug-
inented interest hv jnxtaposition. The current
show at the .Man (iallery comprises only new
works. not random selections from the stock
room. In the sculpture di\ision. Calalonia, l)y
Oliver Andrews, with its tremulous pendants
like an excpiisite filigree, is a decided con-
trast with tliis artist's soliditv of form in
licad and the figure Speak, tfieir diversity
revealing etpially fine craftstnanship. The
hronze RccUninir Figure hy Jack Squier is an
imaginative conception admirahly realized;
his Arcli is developed in imposing architec-
inral proportions. An alahaster Head hy Wil-
liam King, a coinhination of sound structure
and delicate inodeling, is a distinctively im-
pressive piece; and his self-portrait in gayly
painted wood, an amnsing tra\esty of por-
traiture. William Brice's three oil studies of
Figure in Landsrapc present suhtle diver-
genccs in the placing of a nude figure in its
setting in richness of color and textures. Burn-
Ont, hy C'arroll Cloar, tempera on gesso, de-
picts the tragic aftermath of a fire with piled-
up dehris and skeletal forms, hut these details
are skillfully suhordinated to hreadth of de-
sign. Robert Knipschild's Coast Road is not
so much a description of a scene as its syn-
Lhesis in tenuous color and impalpal)le forms.
Iwo industrial scenes hy Easton Prihhle pos-
sess excellent relevance of intricate detail; his
Apple 'Free shows a gigantic volmne of pro-
liferating foliage, the heavy Icafage Struck
out in |)atterns of light and shade. Charles
Oscars Inferior witii Figures, held to an
elfective conceniration of focal interest, and
his idyllic Pastoral are induded with a sur-
prising, realistic painling of feet, entitled
Flight. (Alan, April ir)MaN 4.)
TT'mi.rinc. the exhihition of portraits hy Olga
'-^ Dormandi is like Coming unohserved upon
a group of delightful |)eople, so naturally
and spontaneously are the sitters presented
in apparently unposed, characteristic atti-
tudes. Ihe artist has done more than secure
realistic likenesses in her portraiture, for ges-
tures seem conditioned hy a mental and emo-
tional compulsion. It is as though she has
seized a single critical moment in the flux of
individiial life that reveals the mystery of
Personality. Finished craftsmanship is shown
/«:..n-:..... <«
Giuseppe Saniomaso, rHK rivkr; at lior-
geflieht Gallery.
I
I
46
ARTS/A/«)' /"';
(ontention liial "C-olor in itself sa\s some-
iliing,' for it is color that gives these canvases
iheir vitality, .Vmong the paintiiigs that made
especial appeal is Metnory of a Walk, a po-
eti( , nostalgic vision of past experience, in
linelv adjusted color planes. Also outstanding
is inffiiiet .■iatunni, ils modulalions of glow-
ing hues revealing hoth sensiiousness and
deep inlelligence. 1 he smaller gouaches seem
to evidence that large areas are not needed
for fidl expression of a lyrical idea; they pre-
sent the saine vivid metasiasis of visual expe-
rience Mornifig achieves an almost cosmic
eüec t through its white cloud masses and
dee|) shadows. (Borgenicht, .\|)ril 1!2-Ma\ IH.)
A N I XMMurio.N of oils and uatercolors hy
■^^ jides l'ascin hears witness to his gifts,
gifls so distinctive that they nced no signa-
tuif for their at trihution— a fact which ac-
counts for the failure of his would-he imi-
(ators, I he suhjecis are usually nude. sensu-
ous women, the forms defined hoth with
precision and suhtlety of detail, the defining
lines so llowing and delicate that details
never hecome insislent. Ihe figiues are en-
veloped in a luminous atmos[)heric cpiality,
not of our familiär world, hut of a seductive,
inescapahle lyrical essence. I he rliythmic con-
linuity of their forms in lluent sequence of
planes, creating hodily solidity, niight sug-
gest sculptural modeling. hut they are too
vihranllv alive for sculpture, the tension he-
tween contours iniparting vitality, the caress-
ing touch of the hrush endowing them with
warmth of Mesh. Kach plane holds its place
consistently with all olhers. Color is not l)ril-
liant; fusing with light, it echoes the notes
of hits of cirapery and hackground setting.
Girl with liottle is one of the many canvases
that illustrate the felicitous placing of a figure
in spatial design. A gallery of watercolors dis-
plays another fac:et of this artist's work. 1 hey
are maiidy an efiective shorthand in linear
patterns, silhouetted against pale grounds rep-
resenting figures and laiidscape in an impetu-
ous joie de x'ix're of movement. Even when
forms are clearly defined in evanescent hues,
as in Cavalier du desert, they are swept through
the paper in a rush of motioii. In the last
gallery of this exhihition a group of the art-
ists of the School of Paris, the modern old
masters, with whom Pascin was long and
closely associated, forms an inipiessive show-
ing hy itself. (Perls Gallery. April 15-May 18.)
Quoi.AM Eariur is an artist who appears un-
^ concerned with any modish contenipo-
rary divergences of art expression; having
developed his own ideology, he staune hly
continues to employ it. His recent painting
reveals an increased ainplitude of scope, an
added surety of touch, hut it remains phrasecl
in his personal idiom. He paints figures of
almost massive projiortions. so solidly niod-
cled, so relevant of gesture, that they i)ecome
endowed with latent animation; his usual
Palette of low earth colors develops the real-
ism of their llesh textures. Ihey do not sug-
gest synd)olism or fantasy, hut the vigor of
powerful forms. A group. seated hy the edge
of a pool. cnveloped in a inurky red. dis-
plays his ahility to sustain an impressive spa-
tial design, the attitudes of the figures rele-
vant to the totality of composition. Fhe Blue
lied, an interior scene, its figures adroitly
disposed in a closed-in design, is another ex-
ample of his suhtle handling of space. Per-
sonal predilection chooses sMaking the lied;
two huge forms, with hacks toward the viewer,
are presented with such vitality of muscular
co-ordination in their hending figures that
thev hecome convincingly alive. (Salpeter,
April 22-May 11.)
Ancient Art of the New World
GOLD AND JADE OBJECTS
FROM MIDDLE AMERICA
Ist TO 14th CHNTURIES A.D.
through May I H
MARTIN WIDDIFIELD GALLERY
8 18 MADISON AVENUE NEW YORK
Exhibitions
.
JOHX HELIKER
pmnlinyis • to May 1 1
14 PAIi\Ti:R-PRI.\T>IAKI^R^
May 20'Janp 7
KRAUSHAAR GALLERIES
1055 MADISON AVE. (comer of 80th St.) N . Y .
r
>
GORDON RUSSELL
DURLACHER BROTHERS, 11 EAST 57 STREET, NEW YORK
LACHMAN
MAY 1-18
1 E. 57 ST. HflmmERGRLLERIES new york
NEWHOUSE GALLERIES
INC.
Established 1878
Fine Paintings
15 EAST 57th STREET
NEW YORK
47
IN THE GALLERIES
Trrml!* in \^ ah'rrolors Todav, Ilaiv und l .S. :
(.cncial impRssions. sim|)Iilif(l: oiu' of ihr inosi
<*X(inn<5; cNliihil ions ot (oiilcinpoiaiA ai I im
a^inahlr (11.'» paiiiltrs. ^ITA picliiirs. scicc icd
sinj^U'handcdlv in Iial\ ami Aiiu'iica hv (ohii
Gordon. Ur(K)kl\n\ (inator oi paiiuin^s aiul
sculptiiic); watt'Koloi iio longcr a restridixc
medium, if i( was cvcr lliouglu so. Witliin llu*
doniain ol Aimiican abstiad painiing, cMiciiu'
or modt'ralc. thrsi- airrsi ihc eye by priniarily
forceiul mcaiis: Cicero, (.iierrero, Hultherg,
Kierd)iis(li and Ronald; diese appeal bv attrac-
tive texluies oi tomposiiion or tlirough coii-
(cpu'ons reacblv grasped: Borgenicbt, Frasconi,
■Miubell. Olds. I am. Ihon; others, having sub-
llelv ol means not instanllv apparent. vvliose
value iiureases alter llie seeond look, inclnde
U.nuei. D' Arisia. (.ra\es. Hartigan. Heliker. Keen,
I.nnden. Shaw and Weber. I hen liiere are ihose
who liase delmed tlieir sid)jeet wilh such puritv
as to assure \on. l)e\ond vom dist rimination of
technicpies or the momenlar\ (|ni(kening of vonr
pulse, thal wliat thev've distilled from tlie tissue
of a[)pearan(es has a \ivid relationship to all
forms whi(h are ihe images of our sense of life:
Averv, Uurdilield. IVterdi and Selirag. Ihat
sense an i mal es progressiNc Italian painlers, vital-
ly oc(U[)ied in workinj» through "<istratto-con-
rrrto" lo re (reale tlu'ir own idionis in terms
uhidi will reiiounce ihe \esiiges of l'uturist,
Siirrealisi. C.onstnu tivist or Parisian Intimist
niodes. I lieir Version ol ihe subjectixe move-
meiil wliidi has arisen for this purpose univer-
salis, and iiH Indes ihe so-callcd action painting
of ihe l S.. is inhiiiieU rieh in chromaiic values,
more mellowed in tone and (onteixcd witb
uni(pie sublletv. even while il matdies our most
eneigeli« lalenls in |)oini ol \irilitv (cf. Afro,
Ajmone. Hiiolli. (.arino. Lieala, Santomaso.
Scialoja, Spa//apan. Saroni. I ancrcdi). Hut just
as ihe land ilsell looms beliind the conditioning
of " \meri(an" artists. so behintl everv Italian
waits the humani/ed objecl: ihe still life of
Morandi, the slone-eut ligures of Mario Sironi,
the X'enelian warmlh ol Maria Sbisa's coral-to-
iiinber lacades, the audadous "studies for sculp-
tine" of Man/ü or Ramous. the prcciselv ronian-
li( dtvs(a|)es of \ cspignani— and thrit new. vet
ai(liai( \ision ol ihe \oung Holognese. Leonardo
(remonini. wliose (old dawn liglil monuiiienial-
i/es woman and (liild on a bahoiu and endows
the randd sibi'r |)laiu's and bollows ol the buM's
eareass wilh reniinders iliat li\ ingand dea«! are bin
sonrces for eteriial mulalions ol tlu' ( lassi( al spirit.
(Urooklvn Museum. April 9-Mav !.'(). )-\.V.
Interiiutioiial (*u$;geiilieini Awui'<l: As iiiighl
be expeded. the pri/e winners of this inlerna
lional tontest are generallv in the mitldle of the
road. Ihe big awaril of .^lO.OOO was given lo lU ii
Nidiolson, vvhose eiitry is eminenlb award win
ning. A handsome rdinement of (hibist premises,
it olfers a virtuous. solitl eombination ol iradi
lional ( raflsmaiishij) and elegant detail in a stvle
whiili is(learl\ modern, wilhoul being asstrliveK
so. Ihe reniaining paintings. whidi. lor reasons
of spaee. (annoi all be exhibited al tlu* same
tinie. provide a (oiiiparable resume of past lon
temporarv a(hie\ement. in wliose context the line
Härtung and De kooning look wildlv radital. In
geiieral. most ol these pittures. stemm ing from
plates like ^'ug(>sla\ia. (lanada, Poland. allem|)l
lo (onibine ligiirali\c' imagery witb tbe looser.
more impulsive votabularv of the 19.50's and pro-
(bue ralher lepid residls. Ihe best paintings.
lioweNcr. bv no means eonform to this generali-
/alion. I would (ile Man Davie's Alhir of Ihr
Monii (Kngland), a j^olenl ieon reminiseent of
Slonebenge in its criide, linn geomelric endo-
sures animaled bv some binar magi( ; Pierre
Alediinskv's Anthill (Befgium). a fasdnating,
earlh-eolored labvrinth of insed ar( hite( Iure,
wliidi swarms and bu//,es wilh adivity; Jens
Sondergaard's Winter Landsrape (I)emnark). a
powerful reprise of Nordic F.xpressionism. in
whi(h migranl ligures are silhouetted againsl a
bleak \ista below a brooding sky; john Uralbv's
Jfdii (uid Still Life (Kngland). a sample of ihe
"Kitdien Sink Sdiool." wliidi ollers a kindof Pre-
Ra|)haelile fastinalion wilh sudi grimv domestic
delails as (",orii Flakes boxcs; Rene Magrilte's
ominous Doniaiti 'of IJjrlit (Belgium), one of bis
familiär luniinarv enigmas of bliie, cloud-lilled
skies above an inkv blaek street scene; or Fmilio
\'viU)\ii\ Ironi the C\( h' oj l'rotest (Ilalv). whose
\ igor and stridenev oNertome tlie ( rudeness of its
primars colors. For all llu'se highlighls. ihough.
T susj)<.'( I ihis groiip gi\es iio heller a sur\e\ of the
Karl Sihruf^, dark irkk, dark wahr; al llrooklyn
Museum.
best in eonlempoiarv painiing than tlo theendless
gallelies al tbe Nenue hieiinale. ((inggenheini
Museum. Mardi 27-Ma\ P.).)-R.R.
Midlzer (»rou|>: I he Understatement of Millon
Averv 's paintings mighl be a key lo this group
show. wbidi leans loward the wliispered diserc-
lion. \\\ (onirast lo Avery's blue gulls. which
almosi disappear in llieir blue loaslal setting.
Walhue Puinanrs sea birds. batked bv wliile-
(rested waves. almosi look vigorous in the haii-
dling of paint, Ihe more abslrad painlers shown
are e(piallv elegant, (.eorge ('.onstani provides
deli(alelv nuaiued striKtines ol muled (olor
|)aldies, like a magnilied Impressionist vision of
sea. rock, or eartli. Carl llollv ollers coinparabb
relined modulalions of eolor and shape. (on
striicting (piiel (ounierpoinls of rectilinear edges
and blurred foiins, jagged angles and ba/v eol
ois. And even [olin \o\\ \\ idit's more brilliani
Xordir, wilh its (old blue walers and icthergs
\i\idlv ollsel by brisk orangi's and reds, belrass
an underlving pielerenei' lor the disdplined
detail ralher than the assertive wbole. Witbin
lliis subdued (oiitext. Sigmund Menkes' Weber
es(pie daiucr dressing is harshlv inlrusive in its
(oarse energs ol line and (olor. (Afdl/er. April
l(iMa\ I8.)-R.R.
Abstraet Art hefore Colunihus: l)is[)!ave(l in
this exhibilion are ohjeds dal ing as far back as
i:»()0 B.C. shaped bv the inbabilants of North
and Central America during the centuries whidi
pretedecl the arrival of Furopean dvili/alion.
ohjeds whicb have been selecled because ol
(pialilies whidi evoke an esthetic response re-
gardless of their original fundion. "1 hus whdber
urn. bowl. matehead or pedoral pendant. tbev
slir our admiralion lor their abslrad jjroper-
ties ol shape, eolor. design— their signilKanl
form. It is increasinglv apparent tbat signifuani
form is a constant for all ages and all cullures
and ihat. once rid of tranimeling preconceptions.
we sliould be able to re(()gni/e it wherever we
ciKounler il. Ihis seledion allords an oppor
iuml\ to lest our readions lo objeds whidi lor
US bave neither praclital (omiolalions nor super
natural implications, bul whidi sbould conimu
ni(ale lo us llirough the elo(juen(e of their
forms something of how their crealois looked
lipon tbe World.
Flure is an illmninating \ariety botli in the
cullures represenled and in the nature of the
objeds. from the small, explicitlv shaped banner
siones of ihe Ohio N'allev \Iomid Buildeis lo
John von Wivht, norpic: hI Mcllzer Gallery.
7^* »VI -t«
f
ihe bulbous. tripedal urn lium ihe dassical
I>erio<l ()( (.olima. fiom the teremonial liadias
and palmas (arxed ol rougli \ol(ani( sloiu- to
Ihe transhuent white on\\ \Ie/(ala bowl and
Ihe green jade axe head trom (.uatemala. I be
sophistitated handling of maierials. the exploi
lalion of grains and textures in the sioncs and
ihe undersianding and a|)pre(iali()n ol their
naiural properlies h)rm oiu- of the areas in
whidi these artists make their estlieli( aware-
ness inosi sirikingh fdt; anotlier is in the model-
iiig in dav. the elegant proporiions. the marvels
of invenlioii. the imaginalion and im|)ro\ isatioii
whidi mak( a dav jug an original creation
ralher than the replica of a Standard design.
Menlion niiisl also be iiiade of the painied de-
signs on tbe bowl and |)itdier from the Anasa/i
Culture of Ari/ona. abstrad designs whidi are
(onlimious and unbroken. deteptive in their
simplidlN. (d maiked originaliu aiid freedom.
A handsonu book published in (onjmidion
wilh the exhibilion indudes pliologra|)lis of all
Ihe items in the show bv Fee Boltiii ,llie photo
giaphs demonsirate liow line j)lioi()grapli\ (an
ollen be miskading in regard lo sculplme be-
(ause ol o\('rl\ (lramali( lighling) and a per-
ceptive text h\ Doic Ashlon. (Fmmerich. .May
1 :n.)-M.s.
New Tal<»nt — Cohen^ Kolin, Sriiapiro: Fhe
fat I llial the (uirenl exhibilion is one of ihe
li\('liesl and most iiialure in ils ollerings in tbe
series ol New lalenl Fxhibitions presented by
the Museum ot Modern Art siiuc 19,50 is pos-
siblx (lue to a new poli(v which stipidales thal
ihe ailisi not haxe liad a niujo} one-man sliow-
ing (leim uuddmcd) ralher than, as foriiierlv,
ilial he nol lia\e had ;i one-man show in New
Nork. I he iwo painlers and ihe sculplor exliibit-
ing al presenl will alread\ be lamiliar lo assidu-
ous gallery goers. biii there is scarcelv space Iure
Im (lis( ussion of a j)oli(v whidi seeiiis lo parallel
ihe Imulion ol the ((mimer(i;ii galleries. lalliei
llian sup|)lemeiiling it l)\ ollciing the oppor-
timilN lor exhibilion lo artists who ha\e no gal-
ler\ oiillel. \l aii\ rale, ihe show is a good one.
l)olh in (pjalilv and in ihe (arefuIK !)alan(('(l
selc(tion of thtce xcrv disiincl ituÜN idual lalenls.
(.eorge (ioheii. a member of the lacullv of
\oi ihwestern l iiiNcrsilv. exhihits read\!iiades of
a \v\\ willN aiid eiigaging nature in whidi the
disjoinU'd limbs of dolls plav a (iiuial role, bul
iiie\ilabl\ the appearance is slighlb dated. His
iiivcnlion wilh maierials (arries (i\er into bis
painliugs. in ihe use of gold and ahiminum leaf
(wohri*^! /vo/iff. \ii moriai. ro \; al Muse-
um of Modo 11 Art.
and ihe unexpeded bits of (ollage. riii(pi(' in
con(eption ;is well as exedilion. his ima<»es lia\e
a (Urions llaxor of something picvioiisK miseen.
vet stirring dormanl memories of lliings seiised
or imagined. loialls dillerent is the loilhrij^hl
and imniedi.ite appioadi of Miriam Sdiapiro,
whose large painliugs dej)eiul for elled on ihe
acdimulalion ol imnuneiable swift. llueiil brush
strokes in a wide ränge of brighl. vibranl (olois.
A tompelling expendiiure of eiieigv is e\ideni
in ever\ corner of lier(anvases. and her painiing
vcxabulary is an exlensixc one; il is (liidK
through these (pialilies ihal her painiing is iii-
lelligible.
Fliere is a slrong elemeiil ol the mastei (lafis
man in Ciahriel Kolin, paili(ulail\ in his large
consiriu tions in wood wilh their lo\inul\ woiked
smfa(es. the intri(ate joinings. laminalioiis. (are-
lul (oiiiuuling pegs and delails like the juxla-
posilion of varving giains. Ilis momuneiilal Oh-
}('(! (>\ the Sea is al oiuc ihe (realioii ol inairs
delibeiale IkiiuIs and the j)i()dud of tbe lia/ards
of liiiie and nature; its h)r(e is in the deadhxk
of the Iwo dements. kohn's small s(nlplures in
terra (otta Iia\e this same lomhination of llie
deliberate ;iii(l llie laiulom in their (oinplex
buildiip of hollows and ledges and pioluber-
an(es; llie liile of C.alhedrul which lliev bear
does nol seem api. lor lhe\ pr()(ee(l iipward in
üts and stails ralher than wilh a soaring iiioticm.
(Museum of Modern All. April <l-\ra\ I2.)-M.S.
John lh'lik<>r: Fa!idscai)es wilh soft, broken
(olors. sumiiiL'rN whites; the fragile oullines of
a linear assemblage of botlles and friiits; small
lan(ls(apes, more cul)isii(, and daiker in (olor—
Heliker's work is exiremelv poeli(. biit not at
all tenuous. Ihe earlier lan(ls(apes break loward
abstraction, while the laier break ba( k toward
a delicale realism. Easl Rix'er, for insiaiue. is
primarilv a translation, of buiidings and water
and heights into oulliiu's filled wilh dimiks of
delicale eolor— violels. blues, light gravs. wliiles.
Aniong the laier laiulscapes, those done al
Cranberrv Isle are huA mixtures. \ariousl\ white,
wilh j)ale. siimmer blues and \ iolels. and (xca
sional jiini|»v bits of brighlncss— vellow. biiglil
blue. red— wiiile those done in \o\a Scotia are
riclier. darkei . and ha\e more spatial deplli. In
his slill liles too. Hehker's realism is primarilv
a maller of spating ov of outline. I hiis s////
Life wilh l-hneers. palenllv iwo-dimeiisional and
realisli( in the lineh drawn oullines ol ihe
hollles. \ases. liuits and lloucis. has an unie;il
plasli(it\ as the modulaled gra\ whites of ils
ba(kground aic drawn llirough atul Idl ihe llalK
lranspar(iil obje( ts. Neliker's work is lin;K teni
pere(l in an expiessive imit\ whi(h. lo dale,
es(liews all \iolenl (onlrasts or extremes, i Krau-
shaar. April L"J .Ma\ ll.)-F.P.
I>avi<l von Sehle^ell: Fach of these huge. spare.
inoo(l\ laiulscapes in oil is built up oul ol an
econoniN ol means; a palelle limited, geneially,
lo gia\s. bliuks. whiles aiul \arious earlli browns;
an assemblage ol a lew broad. expansi\elv
painied forms; and. Iure and liiere, the essenlial
(lelmiti\e Ime thal sirikes out the edge ol a
bouiidaiA. Sf)iin-^dal<' II , wilh ils broad. trec
areas ol sand brown and bhuk. ils bold and vigor-
ous rliNthms. and (.oasl tirai Caustraf», wilh its
svveeping tides of brown and ils straKlied white
delmitions. are parli( iilarh impressive. \\ lieic
tbe painliugs somelimes fail is in their expan
siveiiess; the areas are loo broad. llie painiing
itself too shuk and thiu lo siistain inlerest. I here
is also. stiangeK eiiough . ;iii opposite tenden(\;
ibe liabil of drawing out ihe paint in onl\ (»ne
or Iwo j)la(('s (in lletwreti the Mountains IL ihe
f()(al spol ol llie (omposilion is built up almosi
s(ulj)lmall\ lo au iiuh oi more ihi(k) uhidi
does tu)l seem a paiulerK solulioii lo ihe |)r(il)
lern in the same terms wilh whi(h the resi of
ihe |>ainting is ilealing. Al their best. howc\ei.
these are singulaiK \igorous and exdting uorks
(Poiiulexler. \lav LS-June I.) J.R.M.
Hans Jaeniseh: Jaenisdis lirst "showing" in
Ameiita adualb look phuc o\c'r Iwebe \ears
ago and was more (onsiraiiied. I)\ lar. Ile was .i
|)ris()iiei ol war in a Soul hucsiern desert (aiiip.
All.ihle. lo a degree uiuommon in ihal parli( u
lar I.neiiiN . he was permitted to paiiU the W ( si
ern scene. ;md his spiriied interprelations ol
home-on-the-range were reprodiucd in the mai^a
/ine A}i:.otui I lii^hieaxs. Fpon returning lo ihe
ratherlaiid. lo discover thal his pre\ ious paitii
iniis had been destroved 1)\ Allied bombardmeiii .
he promptiv resohed to begin again. in aiiolliei
pari ol ihe rums. I he fruit ol ihis resolution
l)\ lepoit. the melandioK subjed stemmed from
etUMiiv aircraft— was exhibited here. in pari, wiili
a iraxeling show of Berlin painlers in 19') 1.
Jaenisdi is liaj)pier now. if llie (urrent show. up
wards of tliirlv laue \ -free pidures. has ans di
red beaiing on their painlers fiamc of mind.
.Somewhere in llie \e\er-.\e\ei Fand which
haimted Klee and Mii('). jaenisdi has siaked out
a cloud ol Ilis own, and on oi' in il he designs,
like a pasi inaster diis paint has a matdiless
John Heiiker, siiii i in wiiii i i ow rKs; at Krausluui) (.aUeiie.s.
48
ARTS/Af.iv wy7
49
Spaiiish. sTii r. i.iff wmi rnn si .• nt IVnJker C.allery.
Arthur Osver^ (.rowiii; <it ('.Kind Cm hol Modcriis.
luster aiul his color co-ordinatcs arc faulticss),
lovclv-scrioiis ahstrac lions likc liird's \est, a niid-
night hliie l)ut iin tragic Icarus, woiKicrful bulls
and toacis and biconcavc horscs with tiny heads
and doulile-jointcd ridcrs, a bluc rectangular
beast with spikcs and Coronas adrift in hini,
tilU'd l'yiicon], a jokc (ulk'd /s/^— surcly a
whalci?), grav on scarlet. cliartreuse-tippccl tail,
a ccjral tonguc, a rcar-center propcllcr (on him
it looks good)— and creatuies that omc wcre
mcn. (K Icemann, April 22- May 25.)— V.Y.
SpaiUHh Still-Life Paintings: From the sev-
enteenth and eigluecntli ccnturies, ihey have in
common a gencrallv frugal palcttc and a tonal
chararter which, since one's lirst iniprcssion is of
succulcnce and al)undant sensuality, is paradox-
itailv austerc. The Spanish hodegon painter
workcd not for public delectation— he was often
a reclusc— not even, perha])s, to rencicr, exccpt
priniarily, the "kitchen ol)jcct" in itself, but to
iulhli the divine in the ordinary. to invcst the
fruit, the vegetable, the verv Utensils, with that
sense of the arcane and the imniutablc which
alone was reality for liiin. But the surface of
this cheese (No. 8, Unknown Artist) is like an
adobe wall absorhing sunlight and decanting it,
sparingly, into the dark pool of tlie plate. Na-
lure. scorned as hmdscape, has its epiphanies.
\\v\v\\(\^7.'s Fruit s and Cucut)d)ers congregate in ac-
(urate splendor, iiUerrelated and conipleniented
hy leaf and stem and the faggoting ahove the
(luster of wild strawberries. Ihe myster) is partly
flie presence of that undeep space which sur-
roinids and permeates all these paintings, with-
in which the profilc of an um (in the Espinosa)
Ol the shinnnering glass (as in Nos. 7 and 8) at-
tends diffidently. like an aloof stranger wrapped
in a (loak. Ihe "School of /urbaran, Brown and
\\ hite" painting has the most taciturn pcrfection;
esdiewing the bloom of grapes. tlie liquescence
of amber or the melody of ripe-rcd curvatnres,
Ihe artist presentcd his forms ahnost starkly,
wiib dry surface against a backgronnd which
neilber conceals nor concedes. Glasscs quivcr
transparently and the olives arc treinulous. but
the earthenware jug, the staunch apple and the
frontally situated cardön, like a wreckcd ship
with its bull planking exposed. soberly doniinatc
Ihe picture. (Walker, April l-20.)-V.Y.
(ieorge Segal: A largc group of sniall pastels,
antl a small group of largcr oils revolvc for the
inost part aroiind the sanie ibcme: one figure,
usually a nude, draped in a coat. or cape, or
cloak, in a space delincd bv large areas of rieh
color. Ihe figiircs arc poscd dramatically: half-
st?
siiiing and half-lving. or half-reclining and
cluuhing a knce. 1 heir e\pressi\e posiures cre-
ate an arc of pbysical tension. as well as a
|)sy( hological focus for the eve. In the pastels,
the loose chalking in of color areas— walls, floors,
patios. etc.— makes the wbole expressively light.
So that in these, the figines— red or orange or
greeii as the case mav be— seem to have been
sj)ontane()usIy translated into color. In the oils.
however, the dehn ition of the space is so rieh
and so solid, so fidl of vibrant contrasts, that
the figines themsehes tend to seem weak and
sometimes freakish. Vet in spitc of this. several
are cjuite impressixe— one in particular in which
the inward sweep of a deep blue floor is blocked
near the top of the canvas bv the arc of a sinall
bhuk desk with a siraight top edge and to the
left hy a red chair. (Hansa, May 5-26.)— E.P.
Andre Lan»»koy: Intense sensations of color are
used to build vibrations of form in Lanskoy's
work. In his earlier still lifes and interiors. tiie
(olors are mutcd bv brushwork which correlates
ibem nu)re dehnitelv into local form. Lest one
tbink Lanskoy's moderatelv thick paint-toiich
surfa(es were stimidated bv recent tachist cur-
rents. it is well to look at the dates. for a nmn-
ber of these jKiintings were done in 1926, '27, *28.
All of his work has a tightly integrated, vibrant
color surfatc, sensiious and Ivrical as in FUnuers
(1928): sensuous and decorative as in -S7/// lAje
(1927), with its cbina bowls, wineglass, seeded
watermelon and \aried mounds of fruit. From
an earlier j)eriod too are several line landscapes,
notably Cdatnnrf hlrur (1938); and Rue Vin-
(ingctorix (1939). Lanskoy's recent work seems
at first sight ahnost totally abstract by virtue of
its radiant (olor breakage. Often. however, there
are definite thematic shapes. sometimes qiiite
obvious as in Summer Itself, a gay, lively cre-
ation in yellow. orange, pink. bright bluc, üght
green, with a roiuid table near the center; some-
times much less obvious as in ßlue Evetiing,
wbith is brilliantly repetitive in color, with a
Hat surface sensuously broken bv the variegated
shapes and si/es of the tactile blobs of color.
Actuallv there are two figures in it, seated, one
with a raised knee and an open book. "Lanskoy,"
wrote Dore Ashton in AR FS for March, 1956,
"has been painting abstractionsobviously based on
direct Observation of nature for more than fifteen
years. [His] stance in the School of Paris is firm."
(Fine Arts Associates, April 10-May 4.)— E.P.
Arthur Osver: In his first show in six years,
()s\er posits some im|:)ortant redirections for his
always accomplished arl. Works like Edifice or
Palatitie still relain his familiär adjustment of
delicateh mianced (olor j)lanes to an architec-
tonic grid and contiiuie to provide that fhin
ainalgain of the intellectual and the sensuous
that one has (ome to exj>e( t from Osver's work.
lUit there are other nevv works which seem to
have been re\ilalized by a large injection of
Gorkv. A case in point is lilue Ishtucknee, with
its nioist, swampy Floridian density; or, more
conspicuous in its new organic freedom, Growth,
where clotied colors churn, coalesce and dissolve
in a frainework which no longer has the security
of (he approximately rectilinear. Such pictures
suggest a niore exploratory and original trend,
ancl intlicale that the future may yield even
more iiuisivelv personal Statements in this freer
vocabidarv. ((irand Cxntral Modems. April 23-
May I7.)-R.R.
John SennhauM'r: In his watercolors, Scnn-
hauser offers a Klee like sensibility to ihe inicro-
scopic niagic of plant shapes seen as frail trans-
parencies or the meandering organic line which
s|)ells out forms suggestive; of fingerprints or
knotted wood. I be (ollages, however. oller a
more jjersonal Statement, while exhibiting com-
parahlv elegant nuances of (olor and shape.
Here, forms like spiderwebs or garden corners
trace out kaleidoscopic i)atterns. among whose
(lense iniricacies one discovers delightfidly unex-
l)ected and irrele\ant newspaperand Photograph-
ie fragments. (/abriskie, April 29-May 18.)-R.R.
Claude Viseux: If, as seems possible to this
observer (not hing up my sleeve), the next main-
stream mutation is a new rapprochement of
Surrealism and non-formal abstraction, Viseux,
a thirty-year-young French painter, lately a
fugitive from the halls of architecture, may be
the most vital discovery to emerge from the
Paris scene. Derived from the subjective manner-
isms of American "action painting," with an
adniixture of Fchelitchew's celhdar drifts, his
hold execution of caiculated spatter is but the
means to exciting conceptual interpretations
which have no other recent kinship. Ihc bidl,
the birds and the aircraft forms which make up
the menacing near-figurative personae of these
paintings are brush-modeled with terrible verve:
labyrinths and funiform passages abound; the
reds and blues are martial and their surfaces,
when vitreous, seem to enliven the pulsations
of the open-white areas. L\in(r in the Streets
(the reference can only be to perspective) is one
of the most indelible paintings of speed, per-
sonified. since the hom of Balla and Roccioni:
wedgcs and counier-wedges of diagonal shafts
ARTS/A/./)' 1957
i
I
Curnion (.Icoro. rorRisnu'.- <il Peridnt ('.alle
r\
like siender rotkets (the color is of buriit grass)
einlöse, while catapulting from. an iidernal
hower. Motivated by premonition, \'iseux is a
\olalile talent. He uniles with (onlemporarv
imj)ulse a memory of form. Fhe (ombination
is basi( for an important painter. ((.astelli,
March 25- April I3.)-\.V.
IWihfM't (»oodnough : Ihe abstiaded ship is his
lour de force. an open basketwork of line and
liglil in which dusters of small cubes. blue to
green. like fiagments of a tile, concentrate and
reinforce structmc and serve. where repeated in
liie Iower areas of the (omposition. as prismatic
mal ine rellec tions. I he Main is nearlv as spirited,
with a hea\ier. more restrictive treatment of
liie huu ing lines. gi\ing a Sensation of hectit
mass. so to speak, ralher than of weather ih i\en
l)U()\ancy. \ female figure. lirst a j)\ramid of
iiUense red and blue \anishing behind furious
l»la( k |)alings, undergoes total sid)mersi()n in a
secpienlial storm of latticed imposition, onlv to
re emerge as a lalm eiulosure of cubes and au
gles with lo\el\ sliadowed \erti(es, and there
we are— with Uracpie. 1911. 1 hese stages of sohl
lion and resolut Ion are too pri\ate for the inter-
esi of aiiNoue bul auother painter. A stränge
hie/c of (iibifomi. loga dressed ligures, exd'l-
leutl\ drawn. seems j)re|>are(l for a (omparable
journev and lebirth. Meanwhile. ihe ship and
llie train are self-evidentiv achieved: see ihem
while tbev're "in the dear." il)e Xagv. Marth
26 A])ril 2().)-\ A .
Carmen Cicero: Cicero has de\elope(l a power-
liil and easib idenl ifiable imager\: om* large
splouh shape. animal in diaracter. is di'lined.
like a negalixe. I)\ a surrounding solid (oloi
area. ihe shape is not entiielv wilhoiil (oloi
however. apart from the cainas oll white, for ii
is usualb smudged and tinti-d. oi toned l)\ a lew
<li()ps of (olor. (oiueiUrated in the background
wideb disseminated in fhe shape. Ihere is a
tliird element inoreover. Controlled bv the shape,
l)ut ()(( asionallv ()\erste[)ping its boundaries.
(iicero draws with a \eiv aiti(ulate brush. and
his linear gra|)holog\ ( harac tei i/es and enei -
gi/?es the so-calied "negatixe s|)a(e"' of the shape.
In ///V/// on \\ hite. the tension between the
grav-white ground and the shape with its prob-
iiig (ur\es and angular extensions is relati\elv
low: the whole is dominated bv a pure flow of
linear energv with swooping curves dramaticalK
piilied to the right. (,at, bv (ontiast, is domi-
nated bv the tension created as the shin\ blatk
of the outside area (loses in ( Jaustrophobic :iIIn
— on the diagranimat i(allv awkwai«! shape. I Ik*
i.arlyle Hroivii. siii i in i wiiii i \\i)S( \i'i wn i-.oi (^i ii. al l'ividno (.allerw
shape iN not o\er|)owered, howe\ei, for the
■'(al" is an action-image with its raised eai
points accenied bv lines, and the four recian-
giilai- spa(e-l)l()ck legs so irregulär in lengtli that
the shape is eternallv caiight in lopsided mo
tion. In ('ourtship. the shape in itself is a fasci
naiing (onglomerale image— it inight be a (iah
with raised nielallic fin-shields. or a shark wiiii
a parrot penhed on its tail. But what<\(i th<-
( hara( ter of ihe shape. il seems ahnost irides-
(cnl in memorv with its [>ale blues and gra\s
gla/ing a spa(c whi(li is inlinitcK more real
than the dark niixlure whi(h mats it. In some
of (.icero's work. tlie balaiue hetween the ihree
Clements is not so perfediv siistained — the line
makes the shape too a(li\e or in some (ases too
gi()tes(pie. as in Ihe I.e.sson with a (loiuhini»
shape read\ to spring whi(h mighl be a ( ross
between a man. or ape. and a kangaroo: or the
line instead ot eiiergi/iiig the spa(c seems to
light with il as in /iitd of Prey. An«! in sev-
eral smallei works. ihe shape is too large loi ihe
area surrounding il. thus destroving the lension
of "positive and negative" upon wlii(h so iniu h
of the e\(iteniein of this work depcnds. (Peridot,
April 29-MaN 2r).)~K.P.
Dorothv Dehner: Ibis is wcnk ol (ine variety
and ( laflsmanship. a series of s( ulj)iiires, gen-
eialK sinall. in hron/e and siUer. Fhe pre-
dominaiil ihemes ;ire the citv, the human ligiiie
.111(1 sj)r(nitiii^ plaiil forms. liV/rr/o/ lletnrned
(bron/e). one ol her best statemenis. is a fiision
of me(hani(al and s|)ik\ grouing shapes won
(ierliilb (omposed and xaiied in their relalion
ships. jr)i( ho (broii/e) is a (<)in|)lex ol inlerjcuk
ing. biuklelike pails tili iisi ing upward iiilo a
biislling. piecaiiousK lilled slru(tiire. Her mosi
(harming s(ulptui(' |)eiha|)s is I.illh- Forest, a
(liinimilive (<)lle( t ion of hron/e planls.ea( h suind-
ing priiiiK in the (()iis( iousness of its own iniegritN .
\ii ('(pialK notable |)ie(e is the bron/e Meeha)!-
i((d Sir, cast in ihe lost-wax |)r()(ess. a vcitical
assemblage of neat. me( haiiic al (ant ilevcred parts.
Fhe exhibit ion also iiu Indes a look al ibeartist's
walercolois. a trealmeiit in dillerenl means of
ihe l)asi( forms that ha\e inspired hei s(nlpluic.
(Willard, .Ma\ 7 3I.)-|.K.M.
iVlixh'i'M Art friMU |{raiieu>«i to (riaeoinelti:
I his is a generalh admirable seledion wilh a
niimber of lirst rate |)ieces. the iiramiisi lOt.so
of a ) (Hui'^ Man (192.'») and the Mondriaii White
(ind Ixcd (1936) among ihem. Ihere is a siiperb
(.lei/es. li)idi^e.s of l'fnis (l!H2). wondeilulK
(onstnuted wilh Mihile inodulatioiis in smok\
gra\s and browns. and ihe Uiacpie still Life \eilh
Dtinhin;^ (.law (1910 II). wilh essciiiialb ihe
saine palelle. is no less impressixe ;is ^in example
ol ihe ( iibist ;i( liievemeiil diiiing ihal jxiiod.
Ihe inajoi (lis;ipp(»inlmenl is ihc Mel/ingcr
Madame S (1913). a imilliple \ iew porliail ol a
wonian in greens and browns. whi(h seems a lii
lle loo liiird and |)i()gi aininat i( . Kul thal is .i
sinall atiair in llie (oiileM of a numhei ol line
Pi(assos, Biacpies and ( .ia(oinet lis. Ihe suincn
iiK Indes, as well, works b\ l.cgei. Klee. Ileibin.
Arp and Mii('). ijanis, April 22Ma\ II.) J.K.M.
(!arl>l«' Hrowii: I his American painlei's sol
eninl\ Surrealist tone has been the effe( I of ob-
jecls paintcd so exacllv that thev are lianslixed
in the limeless almosphere of a still inleiioi.
Fi\ing al presenl in Si(il\. he poses his ol)je(ls
against the hieak lan(ls(ape. Ihe Iower rdin^v of
the (aiuas often l)e(()mes ilie table sinla(c; ibe
brown hol lies, odier jars, white eggs and nissei
boiupiels are ga/ed al siiaighl on. lU'hind lliem.
in Still liie wilh I .andsc iif)e and Hoiujuel. rises
a id(k\ uliile (il\. whi(h disappeais inio the
surrounding gl av. Browns inethod of tiansjixion
applies now as siirelv to the lan(ls(ape as il has
lo ihe objeds. and the combinalion of llie luo
lieighlens. b\ ils exlension. his ( harac leiisi i( all\
str.iiige Sense of an isoiaied, unanimaled. soimd
less World. As alwavs. llie paintings ha\e a dis-
tinguished paini (pialilv. a beaulihilK inellow
snrla(c that eidoKcs iheir sense of deliberaled
expeiKiue. (N'ixiano. \pril 22Ma\ II.) \.\.
\fasterw<)rks of .\nrienl I*eru: Ibis seledion
id lexliies and polleix dated hom ihe fomtli lo
ibe lomleeiilh (cnluix denionsii ales ihe re-
inarkable .i(liie\emeni ol an agri( ull mal people
inhahiling ihe (oasial \alle\s ol Peru in ihe
da\s Ixiore ilie Iiuas. These jx'ople were skilllul
lexl ilisis and wove iheii biighlb i\\vi\ \arn into
iiilii(alel\ designed patterns x\hi(h iiuoipoiale
sinall hirds. fisii. aniiiials. and hiinian lignres.
will) a pailiciilai emphasis on llie exlicinil ies—
all seini-geomeli i( in oiilline. \s ihe\ re|)eaied
a niotil llicN xaiied the (oloi. building ii]) elabo-
rate sxsieius ot iii\emi\e and MihiU- ( haiiges hom
liguie to lignre.
Ihe |)oIlei\ ol lliese people is noi espetialK
d isiingiiished fiom ihe poini ot \ ieu of model-
ing: whal atlra(ls om aiieniion is ihe painting
whi(li de(orales ilie nn«;la/ed exterioi. 1 he li\e-
liness of imagination wlii(h ga\e rise lo ibe
spirited iinages. ihe in\enlion and wil lo be
se('ii in in. ms ol iliein. parli(ularl\ in ihe toxes
aiui (als whi(h (oiistanlK reciir. and llie skill in
j)ainling and ilie iiiiii(a(\ ol liie design give
this work a iinicpie pl.ue in llie lield ot j>iiinili\(*
5/
BUDWORTH
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of dependable service
PACKERS and SHIPPERS
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25
TH ANNIVERSARY
LOAN EXHIBITION
CONTEMPORARY AMERICAN ART
PAULINE
STEIGERWALD
1 0!LS
:il
May 13-25 |
LYNN KOrrLHR (iALLERIES
3 East öS Street, N, Y.
Exhibition of Watercolors
RICHARD
May 20-31
D ELAN O
GRAND CENTRAL ART GALLERIES, INC.
■^^— ^■^g.jS Vonderbilt Ave., N. Y. C
I G A L L E~R~Y
IG R O U P
I john heller ^^^^^ery
JEROME
63 East 57
Draw'mgs & Colleges
GOODMAN
May 27— June 8
P^A NORAS • 62 W. 56 St.
JAENISCH
Paintings
Thru May
KLEEMANN • 11 E. 68
IN THE GALLERIES
arl. riu* Naz(a vcrc an aj^j^rcssivc. vvarlikf jxoplc,
and llu' llaNc'il skins ol ihcii ciu'init's appcar in
dccoralivi' hands t'n(ii(ling tlu'ir howls; llicy
also weil' tond ol licads. and soine ot llu' jngs
arc in llic lorni ol iropliv hcads wliidi liavc
hirn pirid'd in iricinoniai killin}»;s. Ilu'v also
di'|)i( t llu'ir ücnr waniors and piad'lid lishci
nun on tlicir jngs. tlu'ii dniions and gods and
inotils related to hoth. and (hat laxoiile niolif
ol tlie lunnininj; hird— all in liij^hlv original
treatnienls. I he exhihition is handsomeK pre-
senled to show the ohjetts to hest advantage,
and i( |)erlonns a Nalnahle ser\iii' in uidolding
to the |)nl)li( \el another asped ol the cvcr-
aina/injr art whiih \ve (all |)riinilive. (I)elaeorte,
Mardi l,>r)-Mav ll.)-.M.S.
Jean Xeeroii : These neu paintings hv \(eron
h.i\e adopted a uaniier tone, a kind ol spon-
laneitN, tiiat issnes oiit ol and vet dillers Iroin
the cool pinit\ ot Ins earlier work. In general.
ihe larger paintings in (he exhihition are the
heiter, inore siistained works: Mo. 7 with its
heantilid, doiidlike inodiilations ol hlnes and
jxirpk's. its glowing accents of vellow and Iresh
gieen: or A'o. 9 with its hiaik eonstrin tions. its
passages ol soft fog-gravs. Ihe most exciting
work is the lall verti(al coinposition, Xo. S, with
its )nxla|)osition of roiinded aiul straight line
inotifs. its phases of l)liie purple and inagetna
thal a|>pear (o he woNcn oiit of the fahric of
ihe soll grav gronnd. I here are a niind)er of
sinaller paintings. all of thein with the saine
niasterv in iheii niodiilations of tolor. Ixit tliev
seein at tiines too deirse in their strnilnre, too
lonlming. perhaps. wlien (()inj)ared with the
laiger works. And the |)ainting Ao. (V, with its
lightness, i(s airiness. i(s delieate halances. in
the (ontext of the exhihition. seenis an idtiniate
relinement of the thetnes with whieh the othei
paintings are (oiucmed. (Rose I'iied, April Ki
May ir.)-).R..\I.
l.yiiii Cliadwirk: Althongh Lvnn Clhadwick's
irape/oidal sttilplnres jnesent blank and inipas-
sive faeades to the ohserver. thev liave a strangelv
tominanding preseiue which doniinates the Space
ihey ocenpv. He nses a iiielal annatiire and lills
it in with a ( einen thke snhstaiue which leaves
the rihs of the annatnre visihle, so that the
siirfaccs are faceted hy these snhdivisions. Ihe
granulär (ext nies are niiniKelv worked, and their
eroded a|jpearan(e. togelher with the snhdiied
and snhtle coloiing (like liie fadings and staiii
ings of tiine). gives the sciilptiires the air of
relics from an anticpie [)ast ratlier tlian the latest
(realions of a prominent conteinporarv siiilptor.
(Is il siiiiplv a desire to avoid the glossv finish
of iiiachine-niade ohjccts that (()iii|)els so iiianv
conteinporary scnl|)t()rs to create a tiiiieworn
ap[)earan(e like the artiruial aging of fake an-
ti(pies. or are there other reasons?) Chadwick 's
shronded ligines on siender pronged legs coiiie
iiiost often in pairs with odtl contignities. Ihcv
confront eacli other with eiiiphatic gesticnlalion.
as in Teddybn\ and (lirl III, or with eiiiginatic
soleiiinity. as in Encoiniler T— as people whose
exterior coiifrontation gives rise to no coinnui-
nication l)etween their inner selves. Miere are
akso Single fignres like the i)at-winged Stranger
—all the lignies have short antennae in |)lace of
heads—and several heasts and hirds. I he lattcr
have the aggressiveh thrnsting. screeching heads
ol hirds of prev; their streaiiilined fornis and an-
gnlar wingspread give theiii an ecpiivalence with
the jet-propelied hirds of prey of modern war-
fare. (Saideiiheig. April 8-May 6.)— M.S.
Dorolhy Sturm: Since the Cnhists first affixctl
newspaper ciitouts to their paintings and revolu-
tioni/ed the concept of materials lit for art, the
iise of no\el and nnexpeited (oiiiponents lias
hecome so widespread that todav anything goes
withont stirring the slightesl protest. W'lien the
Italiaii linrri hegan to make "|)aintings" hv
stitching together siraps of hiirlap, his work
could he read as nihilistic gestnie; hnt when
Dorothv Sturm iiiakes hnge j)atch works of mate-
rials on hnriap (I helieve "sewiages" was the
work James Johnson Svveeiiey coiiied for ßiirri),
her guiding impnise appears to he a pnrely deco-
rative one. Her works are very large and tonsist
of patdies of fahric. a hit of criimpled chillon.
52
a torii hathlowil. a piece of (piilted stnIT. a
s(piaie of salin, stitdied onto roiigh hnriap
groinids in hoki, handsoine arrangements (not
to (piihhle, hnt snrgeon liurri's needlework is
the liner). Ihe saving grate here is color; she
dves her materials when the right (olor <aiinot
he foinul to snit the verv lo\t'l\ toloi s( hemes,
one of wliidi is vellow-dcniiinated in (!eli(atelv
\aried sliades. another of soft pinks and |)ale
hrowns with gold and white, and one in vary-
ing (U'grees of white against hrown. I he siiiged
or tattered edge, the stilfeiied ridges of fahric,
the worn and faded s(rap, the tarefnlK plotti'd
overla|)piiig are all nsed to adNantage. hnt the
eiid j)U)dii(t la(ks hoth the excitement of a
noveltv and the ineans to hold llie attention for
very long. (l*arsons, April 22-Ma\ II.)— M.S.
William (iropper: I he receiit lidiogiaphs iiiain-
(ain (he satiric snhstaiue of (.ropper's ocmnc,
extendiiig it, in siuh fantasies as \n(lt<ir Gods,
llcroir.s, Ecar, l.iist, from the preciselv social to
the ahstradiv universal domaiii. I his is inlrc-
(pieiitlv a coiiimeiidahle expansion. not heianse
his Vision of a diaholiial and seif distorting
World isn't valid. hnt hecanse the illustrative
leinper in oiir time lias heen challenged, hy
iiiass media, radically to su!)tili/e its indnlgences:
phantoin linrses, gorgons and vam|)ires have a
diniiiiishing power of fright. A heetle-hrowed
face in the oniinoiis skv. laheled Fate, is one of
his hest in tliis groiip. Piece Work, of (he previ-
oiis scuial inainstream. is a tellingl\ disposed
composition. Biit Diogenes, for proplietic, sim-
ple power and masterfnl draftsmanship, trän
scends anvtlnng in the show. Ihe paiiuings arc
most effedive where they enihodv (.ropj)er's
caricaturist skill {Batliers and CJiorines), hnt
ßotujuet and ihiartet convcy a deeper aiul moie
stndious atteinpt at co-ordinating characteriza-
tion with a plasti( wliole. Save for the indecisive
role of the ligiire at the hotloni. Ouarlet is an
organicallv spirited painting. a hron/e-and-verdi
gris, l)la( k and-white (oiuert of involved lates,
haiids and instrinnents. (A.C..\., April 21,* .May
ll.)-V.Y.
John (»rillo: Maiiv of Cirillo's works, especialh
the sinaller ones. look like hatllegronnds of the
AI)stract-Kxj)ressioiiist vocal)idary. One linds the
veheiiieiit slasli. the deli(ate drihhie. the spread
iiig color pat(h jnxtaposed in an ordei which
implies, hnt never states. a (oiuealed retlilinear
pattern. .At tiiiies, as in SV//;// (.eorgr and llic
Dragoti, this Hofmannestpie langnage looks len
lative. hiit there are snperh exceptions whidi
eincidate a gifted and incisive personalitv. In
Noetnrnal hnages. a more cohesive \iewpoint is
alreadv evident in the emphati( (ontrasis ol
valiies and die exciting (eiitrifngal desigii whidi
nnexpectedly scattcrs the major pictorial accents
to foin (orners. Bnt eveii liner are Met<nn<)rf)h()
sis and Celestial Slairway. Ihe latter in particn-
lar poses no douhts in its leeling ol linal riglit-
ness. Its seiisnons iiiipad is imniediate and com
pelling— a limiinons veil of |)ale vellows, whites,
apple greeiis activated hv forcefiillv and snccii
leiitlv l)riislied hooks and arts— and its snhtleties
of deptli, in which liliiiv laveis are snddenly
piinctnaled by nnderlving or overlving paini
areas, snstain as well a closer sirntiny. Grillo
is an artisl to he watdied. (Bertha Schaefer,
April 1.5-May 4.)-R.R.
Nojad: The 1 nrkish invasion— or. with greater
proprietv, infiision— of Abstract Expression isiii is
reiMeseiited luscionsly in the bizarre vcrsions of
Nehemed I). Nejad which, with some inevitahil-
ily, perhaps, owe iniich of their elfiilgent "tacli-
ism" to the self-radiant domes and the non-
ligiirative iiiosai( tradition of Islam. Oiilv one
of these (M'lien I \\ as a Child. . . .), its aiireons
tree shooting skyward, emplovs an *'appearance,"
or implies a foieign inllnente bevond the cnr-
rent abstract niode (thongh Ilotnmage ä Tiepolo
is a radiant parody of Banxpie s[)acc, paintcd
withont Space— i.e., withont Nohniie in Space).
Ihe otlicrs, with occasional ventnres of cool
toiied overlavs, have the dense, constitnent glow
of the Magian world. lestle.ss yct fixed, like
iridesceiit solar svstems. scattered with sceming
whini hnt actnal coherence. Most spcctacnlar
of these is llie Firehird, a iiiniticolor fracas ol
ARTS/A/r/v n>^7
hroken forms magnetized. like filings. by an in-
complete ultramarine circle, spinning-if the
fignre is acceptable-in a darklv clioate voiil.
(Zodiac, March 21 -April 7.)-V.Y.
Castelli (»roup: Ihe exdtement of this gronp
show is nnnsual, for most of ihe arlists in this
new gallery are barelv kiiown and, jndging fiom
this preview, heg for fnller attention. Take
Jasper Johns' work. which is easily descrihed as
an accniate painted lepliia of the American
(lag hnt which is as hard to explain in its nnset-
tling power as the reasoiiahle illogiialities of a
Dnchamp ready-made. Is it hlasphemons or re-
spectfnl, simple niinded or lecondile? One sns-
pects here a vital neo-Dada spirit. Or consider
David Biidd s Man flow, whose shrill, explosive
tangle of blood-ied on white seems lo have
coagniated on the canvas and whose feiocity and
impnlsiveiiess pnt Mathien to shaine. Nor are
the other works less arresting. Ihere is Angelo
Savelli's relief of riistv sdews. bolts, wiies on
painted wood. the whole ollering a poignant len-
sion betweeii its coarse materials and lehiied le
sult. And Ihe saine niight he said of Ranschen-
berg's (doria Vanderbilt (ollage. whi(h is alter-
nately rough-edged and elegant, hilarionslv fnn-
nv and grimlv sordid. Marisol's sinlptnre Ollers
crnder paradoxes— a familv gionp ruggediv
carved in wood. whose frontal. rie-Colniiihian
austeritv is conntered bv the mobile, fonr-
wheeled tart on whidi its rests. Or for an ecpial-
ly enigmatic object, (onsider (.eorge Orlman's
Surrealist peep show of cir( umscrihed geometries.
In this dis(piieting context. (he leiiiaining paint-
ings alniosi look tradition honiul. Ihere is Al-
fred leslies stunning Jlobokeyi Final, teeming
with eneigv and succnlent in its paint handling;
Norman Bluhm's expanse of no( tnriial hlues and
gieeiis, a swaiiip of lusli deiisitv: Iriedel D/ubas'
volcani( blaik eruption; and the Washington
painter Morris L<niis' ahiiosl Xeai Kastern
luxuriaiue of decoiativeh splattered paint. AU
in all. this angurs a challenging seasoii. (Castelli,
Mav () 2.5.)-R.R.
Marino Marini: "C.ivc a man a horse he can
ride. " l*or Marini it's a hohhvhorse. With oil on
|)aper. tempera, gouache. pen and wateKoIor.
Iith<)gia[)h. his successive versioiis of "Horse and
Rider" (the rider alwavs more negligihle). le-
souixefully indulged, are verv iiear to chic:
evoked as a white-paper outline hv Scratch ing
throngh dark paint, oiganized as a collocation
of geometric fignres, given an elfective shadowy
charader with watercolor (hrown horse, hine
Standing man, gray rider, e.g.). Most siibtie of
Ihe abstract treatments are Pink Horse atid
Rider (delieate infringenieiits of fnchsia and
red on vellow. 19.53) and Chorolate Horse (oil.
195.5), open-formed, like a wootlcut. with red
and bhuk. Ihe large, stockilv monumental
broiize in the window should litly summarize
lliis motif for some time; (ertainlv it vindiiates.
wliile (onlounding, the iiianic variations on
paper: from anv angle, it preseiits lieft and stub-
born tension. slabilitv and threatening dvnaiiiics.
I he roughiv criuiform rider. straddied in a
ligorous tiansxerse position. willi short angnished
arms oulllung. proxides (ounterthrust to the
cylindrical torso; seeii from the front and from
one side fiis adhering stmiipv leg contriluites
volunie and teiisilitv to the long backward pull
of the horse's columnar iietk. It's a sculptural
dassic— not of elegaiue luit of neo primilivism.
(Ihe ('.ontemporaiies. A|)ril I 20.)— V.Y.
Paul-Emile Bordua.s: The Tust Canadian Ab-
stract Expressionist to attia(t international at-
tention. Hordiias briiigs to the lieid a personal
Sense of what to an a( tor would he liniing. Spac-
ing is prol)ai)lv an inadeipiale (erm. hnt on (an-
\as this is a primarv result of his melodic intui-
tion. " Ihe free form elemeiit — Jigsaw, trapezoid,
torn fealher— will go just there. preciselv, or over
iieie. sfuniato." he seems to lia\e said. In his
blackvvithin (not r;;/)-wliite caiuases, this suhtle
geomelrv is most appareiit, and their otherwise
spatial frigidity is mitigated h\ delieate freak-
ings of the open areas and i)\ a (rimping of
the paint around the jet islands. Fronfron aign
and Sous le i'ent de l'ile are the most sensiti\e and
protcan of his polychromes. Iliough linked with
5?
THE LEFEVRE GALLERY
STILL LIFE and FLOWER PAINTINGS by
EDWARD BURRA
Ist May - Ist June
30 BRUTON STREET
LONDON W1
^^^B^^ ^^^. \v
GIMPEL FILS
50 SOUTH MOLTON ST.
iKimb^^i
LONDON-W.l.
^^r llffl
LEADING CONTEMPORARY
^^^^^n jBl^S'^ ..^J^^^^^^BflBMl^^^l
B E R N A R D
M E A D O W S
"T!ie Startled Bird"
Bronze 1956
H. 223/4 W. 163/4"
BRITISH PAINTERS and SCULPTORS
Agenfs for Ben Nicholson
FRENCH XIXth and XXth CENTURY
PAINTINGS
:pr f>» '^' ^^^^^H
CUBIST and RECENT WORK by
Anj: 54-88
HAYD
GALERIE SUILLEROT
N
8 rue d'Argenson, Paris (8e)
SIXTH ARTISTS'
thru June 1
Stahle gallery
924 seventh ave. (at 58 st.)
"^CHARLES LASSITER^
V
May 8-25
MORRIS GALLERY 174 Waverly Place at Christopher Street
y
"~"*!f*v
Kxhibition
POR TRAITS IN
Rl Vir.W: 1956-57
\I \^ l.-.m thru
ji NE UM. 19-,:
PORTRAITS, INC.
PORTRAIT CENTER OF AMERICA
136 EAST 57tH STREET, NEW YORK • LOIS SHAW
HELEN .XPPLETON READ
pk ^
NEW WATERCOLORS by
JOHN WHORF
thru May 4
From May 6— Group Exhibition of
PAINTINGS by
CONTEMPORARY AMERICANS
kÄ\ I ^LJGALLERIES
IVl I L Vi^ n 55 E. 57, N. Y.
Clara Onievsky
Gertrude Stein Raffel
Nelson Rodrigo
Thru May 1 1
LYNN KOTTLER GALLERIES
3 East 65 Street
GAULERV
GROUP
May 7-June 1
New worfes by
BERNSTEIN
CROOKS
FINK
GELB
GIBBS
SKALING, etc.
RUTH WHITE GALLERY
42 E. 57 ST., N. Y.
Ist U.S. exhibition—
thru May 18
TARRAGONA
SUDAMERICANA
866 Lexington Ave. (65 St.), N. Y.
Paintings • Graphics
May 13-23
ROSA LIE
SANDBERG-JOHANSSON
AMERICAN - SCANDINAVIAN
FOUNDATION
127 East 73rd Street New York City
JOHN
BAGERiS
PAINTINGS
APRIL 29-MAY 23
ROKO
JIMMY
GALLERY
925 MADISON AVE. et 74th ST.
May 20-June 15
ERNST
grace borgenichi gallery
1018 MADISON AVE. • 79 ST.
IN THE GALLERIES
Olli '■;«(ii()n paiiilcis" in somr rcspcds. Ins iiuli
\i(lual ttni|Kr is insoiKiant lalhn thaii juriosu.
(Manila Jackson. Maith IT) April 30.)-V.Y.
L<»wis Steril«': lo sntict'd linonj;!! siniplicilv,
j»it'al an is ncctssaiN. \\h\ a canxas as \aianl as
a linsiN windou waslud willi rain ntcds morc
ihan <l('li(alf Nariations ot cni|)linc'ss lo rctoin
nund ii. Surncs kcs is nioic olUii hiad and
l)U>\vn Ihan a lij»hl wliilf grav: his sinj|)li(ii\ de
pcnds nu)rf olun on llic dcliluraU' \aiialion ol
tcMnic l)v ihf addition ol (ollagf tknicnis (hau
on llic sliagj4\ i-dgcs ol \vattr\ liins. \\\\\ ilic
|)rin(i|)lc rcinains ilit- sanii': l)la(ks arr not n(( -
cssaiiK nioR' inU'icsiing htcansi' llicy satnialc
|)i('(('s ol hnrla)). (onnj^ati'd pajHi . sirips ol lapc
Ol tlu" longli snilaci' ol a sandpapti s(jnari'. It is
llic ciids and not tlu- nuans ihat innst alkct onc
as dclihcratr. Ahandoninj; (olla^i' as natnial
phcnoiiuna on his lanxascs. Sttriu' iiscs shado\v\
sha|)("s. sonu'liincs (|iiitt' rlh'(ti\c'lv. Slonc/uni^r.
lor i\am|)k'. uith a dark. dnii <>r('c'n sainiatinj^
its lonj^hwcavf snihuc and ihicc hnlkino shad-
ous. two l)la(kir. oiu- j»ra\c'i gitcn. has power.
Xnd ol liic- two taiuasts iiilitlfd Ixclahd Ares,
ihe onc in ri'd is (piitc moxinj»: iht- two ans
ncali' a sj)alial tcnsion in whidi tlic hottom oiu'
inigilt hc ihc cdgc ol a plaiut carlli. thc top onc
ihc cdge ol a distant inoon: two ans shadowN in
.1 icd j^low. (I»anna. May 2-l,M.)-K.r.
J4»hii l{n^<'ris: Icarns and IMioinix. a\ ian s\in-
l)ols ol (Itath l)\ pic'snmption and ichirtii Irom
dcslrn(tion. arc insisltnlh pitscnt in tlicsc
paintings. whidi sliow mnch ardoi. soinc nn-
(dlainlv and a siiucrc (picst lor c(pii\alt'nts ol
thc artists idcas. lUsidc a singic hird. nsnallv
hoiic-whitc Ol lic'iN. thicshing liis skclttal wav
ihrongh a hinnislu'd \oid, hninan skcUtons,
solilary <>r paiicd (cinl)ra( ing, in two instaiuts)
constitnlc thc ri\al ohscssion. Ihc inost snh-
stantiallv j)aintc(l is an iinpadcd gicaming nicsa
ol honcs o\ciarchcd hv ra\crnous wings. sng
gcsting iinmcroiis intcrprctations. dcpcnding on
the sight linc Irom whidi noii \icw ii. (llic
(icri\ali()n was Ironi I.oKa's poctr\.) \ sinallcr
painling of (cntanis has thc frecst dcsign: onc
sinalUi slill. a Ironlal \icw (itvscapc. its cpiiclndc
iitlcrU rcinoNcd Ironi tiic picxailing snhjctt, is
thc iiiosi Instrons snrprisc. Il has no exact
Mcdilcnancan oi \cgcan inodcl hnt is Iranklv
a pcl!n(i(l (()ntri\aiuc. onc ol thosc allnring
(ilics ol thc inind. (Roko, April 1!9-Ma\ :i.)-\ .V.
Collcclors*' C#roii|>: I uo paintcrs and thrcc
scniplors who nsiialK show at thc Mardi («al-
lcr\ cxhihit licrc: Boris Lnric and William
(.ainhini arc thc paintcrs. Rocco Armcnto.
(.corgc Sngainian and Ahram Sdilcmowit/ thc
s(nlj)tors. I.nric's works arc rcalh |)rinls inadc
l»\ (hiiwing on thc hack ol a paint-covcrcd can-
\as thiit is prcsscd against thc Ircsh canvas. l'sing
hotli lliick and lliin paints, hc gcts a \aricr\ ol
linc. ;ind in appKing (olors simnltanconsl\ or
in separate piintings. a \arielv ol tonal cllcc ts.
\\ hell iinages do ap|)eai— a lignre ol a \onng
,i;iil. a dancing gronp-lhcv sceni rehcaiscd. as
indeed tlie\ ninst i)e in snc h a method. I he
;ilteinati\e is accident. and its ])ossil)ilities arc.
in Ulis ca.se, ccpialK attractivc. Rocco Aiincntos
|)laster torsos recall Medardo Rosso in their ini-
pressionistie treatment ol Iragmentcd hnman
hodics. \\\\\ that recollcc t ioii stops at thc siirlacc:
these h)rnis arc essenli.ilK giatnitons. thc work-
iiig ol thc plastcr ölten slo\eiil\. (icoigc Sngar-
iiian's ahslract woocl carxings iise convointed
lorins against c\pansi\e |)lacid areas. Mis Mdiix
Ihnhois, M(ni\ llccjs, in rieh colored woocl. is
es|>eeiallN linc. Ahram S( hiemowil/'s ahstract
inclal sculplnres, Inmpih gold hra/ed, conihinc
loldcd slicels ol iiiclal witli spik\ |)rot nhcranccs.
Hc also sliows an aninsing fonnd-ohjcc t pietc.
/)<>;/ (.hiixotc. William (.amhinis paintings arc
dark shades ol Monet. in whom so nian\ liavc"
lateh loiind so inncli to misiisc. (dollec tors' Cial-
IcrN, April IT). May l.)-A.\'.
(*ubri<>l Daurliot: In his lirst New York show.
ihis yoniig Frendiman demonstiates his native
tradition ol elcgancc and eraltsmanship. I aking
c ncs from I)iif\ and .Sontine. he prodnces a vivid
style eniinentK palalahle Un drawing room eon
sninf)tioti. In llic portraits. a verlical series of
54
Rene Mafiritte, ki \l)^ m \nr iu)i\)iii; nt lolas
(•a/Irrx.
lean hntleis. clowns. waiters eoiiihine a niodeiatc
lainc paicttc and hrnsli slrokc with a siaj^cv
psxdiological repertoire of inclaneholv. ner\ -
oiiMicss (M nrhanitN. More ariesling. in terms of
thc c iic iims( lihcd cliie of Dauchots ait. aic
I)aN(i)io ;jiul Winic) l (Uidscdjx- , hotli of which
oller a gieater spatial (omplcxils in their mi-
expected \oids and witiv icnsions hetween loie
gronnd and ijack^Kuind lignies. (|nsrci. \piil
10 :i().) R.R.
R«'iic .\1u^rilt(': I wo lovcrs, human from thc
waisl down, lisli lonn ai)ovc, sit sadK cnihracin«:
on a rotk while a shij) j)asses. Sliock nninher
onc. that the c realnies arc half lish. is cpiickly
assimilatcd. I lies arc also fxhificd creatnres—
and thc passing sliip is a scpiare-riggcd sailing
NC'ssel . . . lo classih Magiitte simplv as "Sm-
icalist' is to relegatc liiiii, whicli is casier than
to cvahiatc him as a |>aiiiter or to wail h)r the
langh — Ihc last onc. Suriealism: "illogical j)la(e-
ment of logical ohjccts." Or vice versa? A cres-
(cnt moon (ihercs no such thing. /// rca/ity)
sliines Irom thc loliage ol a tice (real c-nongh) ;
an enormons greeii applc lits tiglith inlo a piiik
room. and ihrongh thc wiiiclow a distant fadoiN
is visihlc. / /r>;///>c-/*or/7 and thc csthelic ol the
ahsurd-- Also |)oign;mcc': Ijcvoik! thc ohvions op-
ti(al joke (coiiimon propertv in the Dada peri-
od) is thc oiganicinoigaiiic aiilithesis; hcliind
tliat l(»oms a compicx nietaphvsical jcsl. and tlic
(picstion of ironx as (ontiiigent upoii thc histor-
ical sciisc. (all Magiitte litcrarv, vet its thc
j)ainted texinie. prccisclv. that suhstantiates his
ellcct: he too rcdiscoNcis inatler. Or call Iiiin
pliotogra|>hic. I his hegs thc cjnestioii. tcehnicallv
and otherwisc. I he iiionoiilli rising hefore a deso-
lation of sca and c loiids is not an uncoininon siih-
jecl. W herein lies the terror ol Ma<>rittc's treat-
ment. cxpeiiencc'd c\cii hefore sou know the
title (f.rs Orii^ifirs de hniodi^c!)} Note thc modii-
latioii of üglit j)ro(inc'd l)\ grecii Hecks on the
frontal rock suilace. rainlecl as if photographed
is part of the lioiroi. and in thc clear light of
Ins Meniish. onc iimstnl forget. tradition: the
veracitv of the hahitnal. the eiistomarv view. the
familiär ohjccts— hnt something has been acicied
(likc fonr centnrics). Is the verisiinilitndc of tliis
pictnrc an\ less hair-raising tliaii his inetainor-
|)lioses— thc granite lightniiig. the arid inonnlain
(or wa\e) with an eagic's licad. towering onii-
nonslv o\er a gieeii laiidsca|>e (or lirc)? Hcre hc
pla\s thc dangerons gaine ol roinantie pessiniisiii
more hroaclK. lint we can do hini thc lionor of
recogni/ing its poeti( corrclatiNc; it lies closer
to Robinson |elfers than to Dali. (lolas, March
2.5 April I3.)~V.V.
Artist»« Anonymou»«: 1 his cpiarterlv gronp show
at the -Adain-Ahah (iallery— named Adam, for
Adam and Kve. and Aliah aftcr Mclville («r so
ARTS/Mö)' 1057
WC weic tol(I)-is featnring thc work <.f se\eral
ncweonuis. Sonya Hol/wirth !ias a nire Iceling
lor Space, breaking it np bolclb. One ansirat -
li<Mi. a Still life, is inosllv space arc:is. cxpaii-
sivelv colored in a ligiit palet tc rnnniiig lo vcl-
low. orange and tan. Her portraits too. thongh
ihcN arc skcldiib hrnshed. arc boldiv spac cd and
(<dored-one a girl with a white face and a vel-
low jnnipcr against a dark grav gronnd: another
a lignre. seated and tnrned. leaning awa\ . with
a lall of black liair liiding onr \iew of her lace.
Kli/abclh Kint/'s work is less ainbitions: her
colors arc j)rctticr and her laiids(apc- ima^cs
more decoialive in their naixctc. Sonic of her
work is vcry gav with llic colors bricht l\
groundc-d; otheis— still lifcs— lia\e a niore brical
llow with softer sliapes and coloiing. Rosalic
N'ogcl is tiving abstraction. niixing colors on a
lliick paint suilace with an intensitv tli;it is
occasionallv cpiite stiiking. .\ncl R. Spedor's
work is somelimcs luminons over a linear design
abstracted from bnildings or what iniglit hc a
(Unible clec ker cabiii (iniscr passin^ in the night.
I lie proprictor ol lliis gallcrv lor talcnted primi-
li\cs monnts six color mixes on a bright \ellow
slieet — Uralims Varialions. he assnred ine some
onc callcd theiii. Aniong works bv more regulär
exhibitors. Hedi lucli's darkiv dramatic lignre
studics and a laigc gicen Hat h)oted iiioiik bv **D"
stand out. (Adam Aliab. April 1-May 10.)-E.P.
IVcK'l Davi»«: Xocl Davis has recentiv made a
Irip aionnd the countrv painting the members
and actixitics of fiatcrnal oigani/ations such as
thc Urotherhood of KIks. kihghts of Columbus,
etc.. wliieli liavc |>ro\ide(l him with a variet\ of
snbject matter, induding pitnics. parades. laiis,
old people's hoines. all with their particular
regional lla\or. Hc has done more than report
on tliis aspeet of the American scene, liowever;
he has made paintings lallici than lactnal ae-
counts. Not that he isn't a slickler h)i detail, biit
he is selective. knowing wlicn to coneenliatc his
locus, when to omit ihe iriclcxant and liow tcj
coinpose thc subjed at liand into signilicant ar-
rangements, Hc scems to prcfcr \ast Spaces, tliin-
I\ po|)ulated so that thc emphasis is on thc
kolitarv isolation of the ligures; hiit sinee the
thciiie is fratcrnal he iiinsl also deal with laige
gallicrings, boisterous celel)rations and ihrong
ing piocc'ssions whidi arc part of thc lolkwavs
which he cxamines. I)a\is is a \onng painter ol
cxliaordinarv abilits; bis handling of his media
— oils. wateicolor. pcii and ink— is llawiess. as is
bis drawing. at its best in thc elose-up studics of
la(C's which hc renders with a Mcmish ])erlec tion.
I hcre is lacking oiilv lliat nigencv of somelhing
iiiipoitant lo sa\ wlii(h would giNc bis eanvases
thc anthoritv and \italitv wliieh arc wanting.
(.Salpeter, May I3-31.)-M.S.
SaiiiM>ii Seliaiiies: "Sensitive" is a cltNaluated
adjecti\c which is nonelhcicss indispensable to
<lcsciibc fairlv thc personal treatment which cn-
hanccs thc slill lilcs and landscapcs of Schanics.
0\ci maii\ ol bis sui)jcds tlicrc hoveis an ini-
pression ol sadiicss, as if the monntaiiis, boals
and llowcis wcie \anisliing into an irredceinable
Iwilight. A secpicnce of dving snnllowcrs is
|>.iiiitcd with \arialions of lonalitv in thc inixcd
iiicclia which inlorm precision with pallios. In
llie best ol tlicin. Wilhcrcd Smilhfu'os. thc
blaiK hed pot scems to he withdrawing into its
backgionnd substancc. the llowcis in thc pot
rcscmblc a maimed eiealnic. and onc s|)illcd,
shiivclcd blossom biirns lilfullv likc (hing e\e-
siL;bl. Idhlc and /'lowo.s dclincs the taste with
which hc graces the appcaiancc ol niass and
breacllh with modniatcd light and skill of binsli;
ihe table, solid as a butclier's block, does not
dominale llic rose and siher fraiiie behind thc
bliie tipped llowcrs. noi the transluccnt jai
which scciircs their cpiillcd form. (Kste, Mav
I I(k)-\.Y.
(»ranclma Moses: Ihe Mnsc'r de l'Art Moderne
owns two American paintings, a Marin and a
Moses. And Kurope has. lor the |)ast two vears.
been ablc to see a more extcnsi\e displav of Mrs.
Moses' work in the exliii)itioii that is sbowii
liere hefore its dispcrsal. I he show toiired eight
F.uropean cities; in (ireat Britain it was spon
sorcd bv the Arts (!ouii(il. It was happiU re-
(civc'cl, of course. as (irandma Moses" work al-
vva\s has been. (One imagiiics that anvone
displaying a "genuine- lack ol sophisticalion'—
this (piotc from a Kuiopcan re\iew- would at
tliis jiuictnre he a wehome \isitor on either side
of the Atlantic.) Oiice again we can see lliose
coinlortable views ol n|)statc New \ork laiid
scapes. spaiscK white and gia\ in winicr. teil
(lerl\ grecii and blooming in snmnier; again we
(an maiAcl at thc comi)inalioii of dclicatc trees
and childlikc ligiircs, at thc complcteiicss. the
essenlial wholesomcncss possible to llic simple
\icw. And, il so inclincd onc can also wondei
wlicre arc ihc darkci visions. the uiuomlorlable
inlimalions. thc implieatioiis ol another woild
that arc ollen the gilt ol thc piimiti\e?' (.laiid
iiia Moses gives iis a rainbow. a sign ol goocl lor
tiine. (Galeric St. Klicnne, Ma\ Ii June 1.)— A.\ .
IVew Aspeels of Spac«*: A cat(h all hin pro
\ocali\c- title given lo a sluiwiiif; ol a gallciv s
icgulai group lends lo iinile a discnssion <»l its
iinplicalioiis rallicr than a dcs(iipii\c iinidouii
ol the j)aiiitings iiKluded. I hcre was a liiiK
when in ordci to lia\c sj)ace it was iic{(ssai\ lo
ha\c' an ohjcct. lodav. sciciuc and Jackson l'ol
lock liavc made space itsell an objcct; thc con-
tinuniii Olli ol whidi all objeds llow has become
the oiiIn \alid snbject lor iiiaiu contcmpoiar\
painleis. iiKluding a prcpondciaiKc of thosc
repiesented in thc- current exhibition. lor tliem
llic cliaina of hnman beings. thc strncture c»l
hnidscapc. thc cpialitics and relationships of ob
jc'c ts ha\c' all been absorbcd into thc cliama of
clashing cneigics in an ölten stindinclcss sj)ace.
lor some the cnergN or actioii of thc aitist lay
iiig Oll his j)aiiil becomes clircctl\ ccpiivalcnt to
ihis explosion ol cneig\ in space: sueli arc the
iiiuscnlar paintings of Alfred Lcslic and Norman
(lartoii. Otliers. less lcm|)ciaiiieiitall\ snitecl lo
thc rawlicss of pure adion. ad witliin an im
posed Schema based on contimious ie|)ctition
rallicr than thc crescendo, as in thc work of Sam
Iiancisand Norman Hliilim. Sc\ iiioni Boardman
and lawiencc (lalcagno altempl to rexcal the
natuic ol Space ihiough more strnclinal con
cej)ts. Boardman lliiongh cxploring the tciinous
rdations hetween solid and \oicl. (iaicagno
through bis liori/onlall\ baiiclecl eanvases which
iiiight rclale to the clillcrcnt states of matter. Of
thc olhei artists rcprcscnted. (ciikins is laigcK
pic-occupicd with thc nianipuiations of paint to
ac hieve umisnai textuial cllcc ts. Hnitheig le
peats his Standard lormiila which is nonelhcicss
a clever onc. Appcl j)lasieis his j)aint on so
thickiv that his initial iinages arc viitnallv lost,
withoiil rccoiiij)ciisc. and l'aiil (ones. adhciiii!.'
more closelv to visiial natnre. animates Ins laiid
scapes tlirough niotion and eiiiphatie application
of thc paint. wilhont losiiig thc essenlial soliditv.
(Jackson. April !>Mav l.)-M.S.
M. Pacliia: Nut all of M. Paduas works
were avaihihle lor rev icw iioiic ol thc 'biilliaiil
lindes" descrihed in thc calalogue. nor thc ))or-
tr;iit ol ihc cabarct siiioti W'oltawa. "uiio bc-
c;iine woild hinions with her song 'Oh Mein
Tiipa' Irom thc niusical lix'irorhs." I he poiliait
of the Freue h politiciaii Andre'' Franeois Poncet
shows raehia acicpt at (ombiihng bravina paint-
ing of head and liaiids (oii onc liand gicaiiis a
white high lighled gold ring, (lashinglv .'M)) with
a cjuick-skctchcd. drv binshed linc on lliinlv
waslied canvas. In (,/adiohis and .izdlcds thc ait-
ist is no less eonipelcnt. but in a dilfcrcnt iiiocie:
rieb reds and bhics. oranges ;in(l grecns dcseiibc
heavv llowcrs in solid v ases. sm lomided hv books
Ol liiiil in dark outline. Oiit of eloors. as in
( .ondolios and /// ICiiicc, the epiiek strokes and
light j)alette ol Iin|)icssionisni arc clisplaved. In
all of thc paintings seeii. a leaclv niacle attitude
towarcl forms and a eonlident tedinicpie combinc
lo oller a ))leasiiig sciise of heartincss. (\an
Dicmcn-Ialicnlcld. \i)ril L\SMav l.M.)-\.\'.
Micliaol Frary : Boldiv desi^ned. Fraivs work
shows a patlerneel realism modilicd bv cmph.ui-
callv decorative Clements, licd llousc on thc
li((i(fi has a regnlai gcomelrv of Windows, ret-
tangular sides and triangulär gables, stareelv
modciateel hv an undcrpinniiig of sand broken
to the right bv a tarlike rim which introduces
a Stretch of water. A scaseape has waler likc red
■«)»w»»''S3^^ lu^ X .J(LSa^.Ä..^J•l^S*^
KXIlIßlTION:
A 11 i III a I S c u 1 p 1 II r e
James L. Clark
Mav Ist ■21st
JAMKS (;kaham ä soiXS
1014 Mai)iso\ Avenue
New Yokk 21. N. Y.
GRAND CENTRAL
ART GALLERIES, inc.
Work by 40 Leading
PORTRAIT ARTISTS
on Continuous Exhibition
15 VANDERBILT AVE., NEW YORK CITY
MU 6-4737
:>•)
DOROTHY HOOD
recent drawings • to may 18
LOUISA ROBINS
recent paintings • may 7-25
IN THE GALLERIES
DUVEEN-
l
GRAHAM
1014 MADiSON AVE. (78-79 St.) N. Y.
CONTEMPORARY SWISS
WOMEN ARTISTS
Exchange Exhibition presented by
The Nat'l. Ass'n. of Wom«n ArtisH
May 13-June 1
ARGENT GALLERY • 236 E. 60 St., N.Y.
JOHNNY May 1 31
FRIEDLAENDER
etchings
WliIIL 794 Lexington Ave., near 61 st St.
DEHNER
SCUIPTURES AND WATERCOLORS
May 7-31
WILLARD • 23 West 56
EDWARD B.
Paintings
WEBSTER
thru May 1 1
P A N O R A S • 62 W. 56 St.
Berkeley
Express & Moving Co.
526 WEST BROADWAY, NEW YORK 12, N. Y.
Packing • Crating • Shipping • Moving • Storage
GRamercy 3-5310
FLAX
artists' materials
Ch icagp
Los Ange I es
New York
San Franc isco
FINE
FRAMES
/W. tmOv jumk h M4,ol
hiva. whiif sails and a (hiinkv forcfpoiiiid; a
snowsiapc, sculptiiird diills t()})pc(l with dfcora-
tivc hhuk jj^rasscs. A j>n)filf(i slill lifr shows the
nanow t()|) drawirs oi an oak dcsk loppnl hv a
series of tcn or twrlvc itenis langinpf lioin Iwo
shiny fggs— arc tlu'v real?— (o a nuj^gctv glass
vasc. and a pit'(c ol pottcrv as caiclidiv U'xmrt'd
in grcrn aiul hiack as tlu' skin on a Itopard. I.css
real, nunc loloitnl aiid niore faiuiful arc two
paintings— onc likc thc intorior of a circiis tont
wiili iwisied stiips of sonie Hglit nictal; the other
a (Riiclated line with a towcr ahovr. thuts he-
low. and still fuithcr bclow a dianiond paüenu'd
(oniiNard with scvtral laigc halls. I his Tcxan's
skill in pattcrning (olors or in dccoiating shapcs
with paiiitrd tcxtnics is considiMahlc. Oiic wislics
he wonld applv it Icss oftcn to an ovcrohvions
rt'alisni. ( IVtitc, May (MH.)— E.P.
Eriicssto TrtMTaiii : Allhough irrccani is lodgcd
in Ihr (atcgorv of "New Italian Rcalisin" it is
evident that hc has arrivcd at this j)oint \ia a
(ircnitous rontc and that hc kiiows as inudi
ahout ('.('vaniu' and Pitnsso ns lic dot's ahout
(.iotto. \u({r ifi Ihr Sludir) (lOK)) gixcs us a
chic to his carlicr inlhuMites; the tolor is pure
Matissc. tluMc is an iiiscrt of a (aihist still lifc
ihat is straight oiit of Picasso and tlic iiudc is a
(oinpositc of hoth. liiit this woik was donc im
incdiatclv aftcr thc war whcn a ncw genciation
of aitists feil the siuklen inipiut of Ireiuh ait.
and he has long since tumed lo sohcr painting
of the land aiul thc peoj)le wlio work thc laiul,
imigorating his realisni with the Icssons of ah
stract art. 1 he eniphasis is on hig, nigged fornis;
niodeling is done ihiougli j)lanes: llic hiiishing
is free and direct. and hc adhcies to no rides of
perspective and projiortion. His On the Kartli
rccalls in its hiiddicd gioiip of pcasants and
donkevs (lourhet's llodd Mrndcrs or \'an (.ogh's
Potato Katers, cxccpt th;it \'nn C.ogh with his
intcnse lo\e of huinanitv (ould not havc lefl
his faces so ernjitv of featiires and expression. It
is a striking painting in the (oinpositional de-
vices thiough which thc groiip is unilicd. in
the strong light-dark contrasts and the intrac-
tahilitv which thc hgiircs convev. in Jinln^e
Time, a painting of a girl harvesting grapes,
ihere aic ])articularlv hcaiitifid arcas of paint-
ing, hoth in thc angular face and in thc pink-
luicd skirt with faint toiichcs of ocheis and
\iolcts. Althotigh all the paintings do not iTieas-
urc np to those incntioncd, I rcccani elocpicntlv
dcnionstrates that thc rctiirn to realisni need
not he a retrogression. (Heller, April 9-27.)— M.S.
Stuart J. Davi^: Although this is the sciilptor's
hrst one-rnan show. il gives evidcnceof an honest
and sensitive new talcnt. The variety of thc work,
hoth in its materials and its stvles, is indicative
of an artist working toward a distiiutivc per-
sonal mcans of expression. hnt cac h of tlic |)ie(es
is ( haraderi/ed hv a strict kind of intcgritv. The
Cat, in \arions mctals, has a tall, slendcr cle-
gan(e of its ovvn, and thc styli/cd male torso in
plaster. /7/r Forest of Deaci Sons: A Free is
notahlc lor its sleck gracc. llic niost sncccssfnl
piece is the fcmalc torsf), Äoe, in drihhlcd lead.
with its generoijs and aniple turves, its surface
\arietv and gcneral lightncss siiccessfidly contra-
dicting what is usiialK a diill and hcaw mate-
rial. What onc fecls thc lack of in the exhibi-
tion. pcrha|)s. is a (()m|)lexitv of ideas tlial
wonld inlorm thc work witliout directing or
dominating it. Onc has the fceling that the
work here has takcn onl\ a single aspect of thc
snhject and (icvclo|)cd thc scidptuic froni that.
In cadi ease, however. il has devclopcd Ihal
aspect with a kind of sj)are intensilv and pnr
poscfidncss lhat secm promising ior the fiilurc.
Tliat (oinplcxitv whi(h one woidd like lo fecl
as o|)erative l)chin(l the work is, of conrse, thc
gradual reward of vears of work. Dasis ;ippar
entlv has thc tenacitv nccessarv to achicxc il.
(Contemporary Arts, Afay IS-.^l.)— J.R.M.
Coignard : Tmported froin France, thcsc sinall
oils are extremely i'arisian. Only thc French can
distort with snc h classical (alni and hewitch iis
will) thc solidity of an image. flotnme a lar()iif)e
has a hcad as solid as slone with a heard that
overlaps what niight he a Hoating hih— thc howl.
cleverly niasked and niassed with licptid and
56
fruit. I'icasso has iidlanicd thc jutting prolile
in Les Fiolotiistes; wliiie ("aihisin is responsihle
for tlie solid arrangenient of the foiir planes—
two heads, two instrunients— thongh not for tlie
dark piirplcs and the decorative richness. Nor
has Coignard neglected the female whosc arnior
is age, paint, hairdos and gall, sharpening the
shape of thc face, (lattening the fealures, and
matting her decorative armor into a decorative
setting. Coignard's work is extremely piofession-
al. His fancy is heavily masculine— even in his
still lifcs, soine with vases and howls as solid as
heads on tinv decorat i\e feet, and all remarka-
hly rieh in linear, textmal and plastic detail.
(Collectors*, April Ii9-May 11).)-F.P.
Am<»riean Wat<»r<*olor Soeic'ly: I his vear's an
niial. the Societv's ninetielh, is an impressively
laige allair with soine 1^45 works hy memhers
and non nicmhers. and a special exhihition of
work hv modern Japanese painters. 1 he majority
of the work is verv decidcdly traditional in its
styles, and its tedniical competence is nowhere
in (piesiion. Foi this viewer thcre was finc and
interesling woi k 1)\ Fdmond (lasarella, whosc
Al}f)roa< Il to Mistra is a clean, j)erfc(lly earricd
onl ahslraclion in hrowns, whites and ( lear hhies,
and (.crirndc Sc h weil /er. whosc Seated Fii^ures
nmono^ Hil)is( us, thongh a hit too thin, possessed
ils owii kind of dclicacy and softness. Fdith
(«cigers At Diish, which won the hla Wells
Stroud WOmcn's Award. was a finely mo(hdatc<l
ahslraclion in nnitcd grays, uhites and vellows.
Among Ol her notahlc works were paintings hv
Fi/ Dauher, Harr\ Nfathcs, Fdward Betts and
Norman Kcnt. I hc Japanese selection, a de-
cidedlv worth-while iiniovalion on thc Socictv's
part, was cspecially engaging for the variety
of its stateiiienls. i he stvles ranged from thc
Iraditional dclicacv of Kosngi's i\eiv Willow to
ihc (alligraphic ai)straction of Feda's Fe<ur. \
mnnher of ihe artists (Masaki ^'amagiuhi. In
kada and Suginuito. hn examplc) one wonld like
to see in more extensive exhihitions. (National
Academy of Design, \i)ril 1 lil.)-J.R.\F
Joseph Stefanelli: Stefanelli maintains a singn
larlv high pitch of intcnsity thronghoiit this
exhihition. His hlinit, crnde. blocklike forms are
gcnerallv structiired or interlaced with hlacks
that strcngtlicn thc already forcefid color, the
hcantifui sensnous pink, the hot reds and oranges
of F.picure's Departiire or the hlistering vellows
and siennas of Fate Julv. Bnt even in snch paint-
ings as 'Fhe Sojourn with its grays and ochers. its
hrilliant orangey-reds, where thcre is a less cm-
j)hatic use of hlack structiiring and the linear
effect is biiilt np out of thc placement of
one vigorousiv brushed-in area of color next to
another, thcre is no sign of relapse, the hnrst of
color maintains its tropical intcnsity. (Poindex-
ter, April 21^-May 7.)-J.R.M.
Walter Kaniys: CMinging to the partic nlarities
of a landsca|)e Nision, Kamvs gcnerallv hiocks
ont his |)ictiires in terms of a Ingh, unpcopled
icrrain with a thin inargin of sky above. lo en-
li\cn tlicse simple preniiscs, he tends to break
np rock and carth into a (Inrrv of confcllilikc
pal(hes whidi follow thc irregidar contonrs ol
the land. Wilhin this frainework, however, hc
\adllatcs bclwccn thc atmospheric looscness and
niist of llerhshire Fiuulsaipe, Sununer, in which
carth and sky are alinost inclistinguishahle. and
liic lirnier contrasi of hidinti Hills, in which
copperv patches of snn-bakcd rock act as a foil to
ihc monotone skv ahove. At his best, hc dc-viates
Irom this facile h)rnHda. as in Mesahi Raui^e,
wliic h liappilv providcs a niore complex airange-
mcnt of horizontal liers and a gieatcr coloiistic
\;nietv of bhicks and blucs pla\cd off againsl the
liot brilliancc of solar hiics. (Berlha Schaefer,
May (i-2r).)-R.R.
William Ronalrl: A w inner of thc Guggenheim
pri/e for Canada. Ronald exhihits here for the
Inst tinie. Ihe strength of his abstractions in
oil lies priinarily in his sense of color, in .S7.
Pniilin, where a deiise hlack is cut open by rieh
rcddish pnrples. whites and intcnse lilac-bhies,
or in Requiem, with its litnrgical pnrple and
hlack shapes centered in an expanse of grayrd
white. Ihc forms themselvcs, however, lack a
ARTS/A/riy l')57
THE HANOVER GALLERY
REG BUTLER
Sculpture
2 May — 14 June
32A St George St. London W.l.
Cable«
Hanrica, London
GALLERIA
SCHNEIDER
THE BEST IN
CONTEMPORARY ITALIAN
PAINTING and SCULPTURE
Dr. Robert E. Schneicder, Director
RAMPA MIGNANELLI 10, ROME, ITALY
HELIOS ART GALLERIES
208, Av. Fr. Roosevelt
BRUXELLES-BELGIUM
LEADING CONTEMPORARY
PAINTERS
known
for
Creative
framing
expert
restoring
the house of
heydenryk
141 w. 54st., n. y. 19
PARIS
GALERIE
PENISE RENE
Diiring May
Arp, Taeuber-Arp, Bloc. S. üelaunay. Dey-
rolle, Geer Van Vclde, Hayter, Herbin, Le
Corbusier, Maj?nelh, Mortensen, Picabia,
Schwitters, Seuphor, Vasarely.
DENISE RENE EDITIONS:
PIJBLICATION OF THE
SERIGRAPH
ALBUM OF TEN COLOR PLATES
BY S. TAEUBER-ARP
To Appear in June: Mondrian, album of
twelve plates in color.
124, rue La Bm tie, PARIS 8e, ELY . 93 1 7.
siinilai authoritativeness, and ibe gcneral fceling
of liis exhihition is one of looscness and diance
dfects. (Koot/, Apiil inMay 4.)-J.R..\I.
Paul (ieor߀*s: (.corjifcs's \ision is weddcd lo
spe(ih( iiiia^es of landsiapc. still lifc or intcriois,
which he ihen enlivens l)\ a thoroii^h drciuhing
in a coloristic ha/e of ahnost palpahlc density.
In ihe medinin si/c canvases, cspecially the still
lifcs, ihese Streaming, hrealhing^ veils of (olor
hecoine a florid nianncrisni, which is applied
arhitrarily to vivify what would otherwise he
rather indiflcrcnt airan^t'inents. At cxtreincs ol
size, however, Geoiges's point can heconie con-
viiuing. ('onsider the tiny landscapcs, whosc
hriskncss and irnincdiacy arc coniplctcK cn^a}^-
in^. Ol, ahove all. thc enomiows Family al F.asl-
iKimjttoti, where ni(»thcr, fathcr and child in-
(hd^( in a inomniicnlal Dejeutier sur l'lierhe,
and lascinaling particulai itics of hgmc and
lan(ls(ape are ineigcd with a vista of iniprcssive
amplitiidc and vihrancy. (De Nagy, April l.^'^
May ll.j-R.R.
Aflomas Galdikas: Mie ccclesiastical and mnsi
cal lja(kground of this Lithnanian painicr in
fonns his ahstract landscapcs as a ich Vibration.
K\ce|)ting two. in tlu- Maine and Mc\i(() catc
gories, rcscinhling the hlockcd ronghdace fornis
of Rouaidt, they are more often than not jnngles
of dendritic, intensely hued shapes iniposed on a
Iranie of faintlv jcweled s(jnaies, irregnlar in
size. At first a (oninsion to the eye, they stcadily
assunie the individiial theinatic character clainied
for iheni, with invasive overtones, as in an
antnnnisca[)e, 77, where the nnderwehhing and
the softlv Hoating hnlhs and scrolls might well
relate to clefs and instrumental fragments. '1 bis
is a cooler, more formal, less characteristic paint-
ing than the rest: among the halance the re-
viewer was again diverted hv thc illusivc bau
(Hing of M'inter S, forms on the veige of dclnii-
tion seeming to retreat within a blind ing enve-
lope of snow. (Feigl, Maich 27- April 13.)-\'.Y.
Charlotte Ornclorflf: In working on canvas. silk
and rice pai>er in tempera. this artist rccalls
Chinese scroll paintings. with their drv smfaces
and suddenlv appearing linear detail against
largc arcas of mntcd tone. I he thcmcs as well as
thc materials of Oriental art are nsed— in lUisli-
Ixihx, a dark giav-line monkcv laic j)ecrs ont of
dclicatclv drawn grasses in greens and gravs; in
Surf thc swirling aetivitv of the water is (are-
fnllv dclincated helow a i)arclv indicated sweep
of sky. Whcn the formal derivation is not so evi-
dent, thc paintings are less attractivc; in an nn-
rewarded seaich for form the artist tends to ob-
scnre her most commcndablc abilitv, the cllc(-
tive handling of her choseii materials. (^Wellons,
April 1 13.)-A.V.
Moskiii (»roup: I bis selection makcs its appeal
at more than one level of susceptii)ility to occult
expressionism, olfcring, as polarities. the poct
Midianx, a modest painter, whosc inscrntablc
watercolors (note F'Ftomtne qui rit) have gen
nine pathos. and liranner, a verv com|)ete!it
painter mistakcnlv bent on shock appeal with
disUuations of a Grand Gnignol order. Nfvsterv
hv Suggestion is the sum of Giacometti's Man in
Studio, a caiefnlly slapdash studv in grav. as il
is the snhstance of Congdons Plaza Saji Mareo
{\9M)), painted with nnearthlv gold and silvcr
(for thc facade and skv) which have thc con-
sistency of lead, hlack h)r Ihe radial buildings
and an abrupt (somcwliat too clever) acccnt in
rnst for the topplcd tower. I he Surrcal i)oi(lcr
is also bieadicd hv a characlcrislic if not out
Standing Malta, an explosive fragmcntalion i)v
Paul lirach (Coudor), an elegant spoof iMme
Recamier) hv >[agritte and a durablv painted
ahstract wonder hv the Chilean /anartu. tiearh-
comher. (Moskin.March 'J.j-April 20.)— V.Y.
Pre-Colunihian Seulptiire: rhere are a nnm
her of exciting pieces in this exhibition. a survey
of Prc-Columbian (ultures from Ilatilco to
xMava. Ihc bandsome ccrcmonial bowl from
Colinia and thc bcautitullv carvcd stonc voke
( lotonac ) arc among the finest exhihits — parlic-
idarlv the voke. with its sleck smfaces. ils Imelv
worked ornamcntation. Thcre are also several
fine jades (Olmec and (inerrero). figurcs and
faces. smoothlv stvlized and elegant. I he laras-
can and Nfavan clav figurcs. perhaps the mosl
57
GALERIE FRICKER
177 BId. Haussmann
Paris 8e Ely. 20.57
R. LERSY
RECENT WORKS
May 10-31
Galerie RENE DROUET
104, fauhourg St. Honore
PARIS 8e lel.: ELY 02-27
DESPIERRE
May 7.2.->
GALERIE JEANNE BÜCHER
9 ter, Bd. du Montparnasse
REICHEL
COURTON
PARIS 6e
May
June
Oalerie
DANIEL CORDIER
/y\oy
REQUICHOT
8, Rue de Diiras. Paris Hv ANJ. 20.39
Galerie Marcel Bernheim
M O U A L L A Gouaches
SURAUD Sculpture May 10-25
35, rue La Boetie, Pans 8e. Tel. ELY. 14-16
Galerie
COLLETTE ALLENDY
April 26-May 11
BAILLARGEAU
67 rue de TAssomption
Paris 16e
MIRKO
Bronze Sculptures
May 13 - June 15
CATHERIIVE VIVIA^O
42 e. 57 St.
new york
r
N. y. Showing of an Exhibition of Pa'infings,
Presented in Europe during 1955-57
GRANDMA
MOSES
May 6— June 4
GALERIE ST. ETIENNE
46 We.^t 57 St.
New York
Pa'mtings in a new plasfic medium
FRANK SMIK
May 13-25
P ANORAS • 62 W. 56 St.
^' <
A PAINTER'S SUiy\MER
This is not a school. To a füll complement of
ust 12 young, advanced artists, we offer
selective lodging, fine food, süperb Studios.
Our 8th season. $40 weekly, any period be-
tween July 1 -Sept. 10. Write for prospectus.
BAY STREET STUDIO
BOOTHBAY HARBOR • MAINE
Paintings by
M
N
SCHAMES
May 1-16
ESTE GALLERY 32 E. 65 st. 106
EARL STENDAHL
Pre-Columbian Art
Modern Painting
7055-65 Hillside Ave. Hollywood 28, Callf.
11 E. 68th St., New York 21 REgent 4-7664
1 MAUD
MORGAN
1 PORTRAITS
May 13-June 1
BETTY PARSONS
GALLERT • 15 E. 57 ST., N. Y. C.
IN THE GALLERIES
hiiniliar cxainpics oi i'rc'-(i()luii)l)i;tn work. mc
notahlc lor tlu'ir (|u;ilitv of \v(>rkinanshi|). ll is,
in tiul. onc ol llu* distiiul picasiiu's ol llu' sIkjw
ihal vm\\ |)i('((' shoiiM so ohviousK \)v thr rcsuJ!
ol (arcliil si'lcdion. (DAka. \j)ril I -.S().)-J.R.M.
1'oiiiioka Tossai: liipancsc in liis ^ifl of icdnc
in«; (•( l(( lii inllniMui's to a distiiul st\ii'. \v\ in
llu- (.ihn massixciuss of liis (oiucj)! ioiis. llu* rc-
la\(>(l fi(*(>(loni of Ins (oiu h <\vitli ink sti(k and
hinsli) and llu- phiiosophit svnd)olisin to whi(h
\\c was j;ia\t'l\ (U'dicati'd. It'ssai. sdiolar |)o('l
arlisl ( I <S.S() l<)li I) sfcnis (onsunniiaicK ( liincsc.
Nt'Nt'i nioif so tlian wluii \\v ^liinpsc, in ilicsc
paintings on stiolls. of silk and papcr, ihc niani-
iold I ar l.asit'in sonncs \vlii(h scparatt'K liaNc
hunihlcd iis. tinic and a^ain, into a( know l('(l«;in«>
thal tlu' Orient lias al\\a\s \wcu uluic uc aic
alu.iNs «^oinj;. \ltlion<«li this cxhihition (tircn-
latrd l)\ th(- Sniitlisonian Institntion) (an he fnlK
a|>|)r(-( ialcd onl\ npon a((|uaintan(i' with ils
(onnolalixc ri'lcri'ni es iSnions X'icucr is nr«»('d
to stii(l\ ihc ( atalo<»nt'). ils Inst (halU'n<»c' is to thc
whoU' _<»ainin and s|)iiit of whal for Nt'ars has
hfiMi (allcd a modc oi F.xprcssionisin, i('|>rt-
srnlcd \>\ \olde. kiKlnicr or Soulinc. Allowiii};
loi diliocMKi's in media and in fuiution oi color.
\oii will lind tht'ir stvics rcpeatcdU prcdicalcd
in tiicse Ncrtital landscapcs condivcd (•lli|>ti(all\ .
set in shallou Space, niodeled in dis(rete niasses
and (()n\ulsi\e hlatk livers of iine, detaiied l)\ a
sla((ato nnion of linear and uasli elenients. as
well as in ihe intiniale Anspicious IMants' and
"Water WOild" stndies-lo sa\ nothin«;. wheii
lhe\ (leseiAe a (lilicjne to iheinselves, of tlie two
lahnlons Fuji sdeens (IS9S) . . . Note, espec iall\ .
the fiee-fonn t()nd)ination of )>erspeclives in the
"Red ("lilf" secpience, the red and hhie j)a<»()(las
lidinj; up (i.e. "hack") thron^h the en(ir(lin^
!i»iavs of the landscape in YlNo-Chou, and the
ahsiradion. as lorinidahlv executed as it is
linipidlv titled. (,azinir al ti Wdlcrjall lo Clransc
the Mifid, where the waterfall is what's lefl
(white jiaper) after the lorins have heen prodi^i
ousiy inked. (Metropolitan, April 1-May 3.)— \ .N .
Hhoa Brown: Vhc (olor and atinos|)here of the
tr()|)i(5 pervade the paiiuini»s of Rhea hrown.
still life as well as landscape. Her drawin^s ol
the Haitian (oast, of the tiered hills and pahn-
Irinj^ed shores. are executed in stron^. dark lines.
soinetiines with nnderKinji; washes of color which
j;l()w like snnli^ht pierc ini; the* dense jun<'le.
alwavs l)oldl\ and liandsomeK desi^ned. In her
j^la/ed teinperas she |)aints hrilliant hned hlos-
soins aniid their la\ ish folia^c and oranges
aj>aiiist a gronnci that is hathed in \ellow oian^c
li<»ht. and cleep pink sections of watennelon in
slill life conipositions. In her oils she \iews a
hliic sweep of \allevs and moniUains i)e\ond a
inos:ii( of hrighllv colored rools. or the clense
tropical j^rowth. hroad hendini; |)ahn Ironds and
tree Irnnks in a stateh daiuc. seen in dark sil
honette against llashinj; lighls of \ellow and
oran.t;e. (hodley, AprilliDMas ll.)M.S.
Artluir Sehw«'idt'r: I <> estahlish art exhihitions
in a reslaurant near Wall Street inav he a serv
iccahle idea. since art, cookery and purchasin^
power are not withont interreiation. Ihere's an
indirect kind of appropriateness to Schueicler as
lost (hc)icc'. for Ins classic Dainlinir from the
Park, in niosi of these— which he painis with a
palette rescMnhlin«; thal of Derain in one )>hasc.
jnn<;le-j;reens sei aj^ainst sharp hlnes-iic^t for
e\er\()ne*s laste. I)esij»ii is still Schwcider's chiel
inerit; he uses Iine as a nnitin^ inediuin. sc reen
in<4 shadowc'd rocks. grass or snow with an inter
pla\ of curvilinear hranches, or lea\cs that
reseinhie sails or. as in /itnilin»^, the scalloldini;
of a toller coasler, ahoxc the purple patches of
water. (Churchills, April I .S().)-V.V.
'I'hree-Man Show: A collertion of vcry compc-
teiit work. priinarilv drawings and scnlptnre, in-
c Indes DoiotliN Cantor's stark iiuerior \ iews—
the tinnsting perspec ti\c' of tiled siihwav stalions
Ol tlie sharp clesccnt of oj)en stairwells — the
drawini; ilself, in |)encil. spare and incisive, and
Rohert hiiiiielin's dark, morbid aniiiial stnclies
-a )i»rinning inonkev, in the conrse of Iwo elch-
in<'s, swallowed np in darkness. or a charcoal
stndv of a i igid hanginj; dog cac h in ils wav
insisting lipon a hnman ecpiivalenl. Ihe onl
standiuji» pieccs. for this Niewcr. wcre the sculp
tnres ol Rasmond Rocklin. somewhat snj^j^cst i\e
ol (ul fionvcdu, with leaflike and lendril lorms
c losini; into roiinded hnds or spiralin<> iipward
in gracc'fnl arahescpies. \/.i;/// lilossom, a sinall
deep hrown, glossed terra cotta. its coiling \ines,
lea\es, trinnpet-shaped llowcrs wiithinj; ahont
an iinseeti dark core. is a singidarh (•lle(ti\e
piecc and a peisnasi\e imaj^e ol the dream.
( lanaj-er. April M>Ma\ <).) J.R.M.
DoimmIiv IIoo<I: W iiat distingnislies Miss llood's
( ral tsmaiisiiip in these semi ai)strac t drawinos.
(piite as markedh as her decisivc- and snpple
Iine. is her conirol of proporl ioiied Space. I he
relationship of one j^raphic foiin to another or
to the Space it inhahils. as well as the calcnlatecl
\aiiants ol lexlure and distinctness (sharplv
siinions. linespini. reticulated. lacv or celhilar),
(onstitnies drama; her sni)jects are lUNcr jnst
drawin<»s o// paper— thes iilili/e and makeaclixe
the sin roimdinj; spa( e. I he siihjec ts themsclxes
are ölten ehisi\e and woiild innre pre\alenllv
recall lU-ardslcN il thev weic an\ less rigoroiisly
(oiKciNcd. I heir ima<;er\ is fantastie. Ml severc-
Iv composed. Mdo^fictizcd I'xscucrs, on soft hin
ish paper, is her most extreme comhination of
lantasN and stricl form, liool-liloom is hei most
siriking execntion ol parallel lines as mass. an
iindiilant (oinmn of hair (if you will) with iwo
w is|)s accc'iunating the spacc throngh which il
ri|)ples with the lense s\mmelr\ ol «>rainecl
wood. ( l)iiveen(.raham. April .S()Ma\ lS.)-\ .^'.
58
IMarie Taylor: Il is rare to lind scniptiires so
small in acinal si/e which ha\e such dii»nit\ and
strenj;lh of form as the monolilhic stone carv-
ini^s of Marie I avior. lo a cerlain exteiit ihe
(oloiinj; and shape of ihe lieldstone she selects
delermine the form the sculptine will take, as
in the instance of Ancicnl l'isli iOiiu in which
onlv polishing and a few ronnclings and indenia
tions seem lo have heen necessarv to e\ol\e a
signilicani form alreadv inherent in the shape
of a stone from a (lanadian heach. I'erha|)s it
was also the shape of ihe dapplecl. whilish grav
slone which snggesied the o\al lorm of ihe Old
Sliccj) with its long nose and folded limhs snhlly
delmed, or the strangelv speckled i)lack slone
ma\ ha\e inspired the cnrions ontlines of the
Minister which it hecomes. I he stones are lov-
ingl\ worked. the simple lorms slowlv evohed in
a natural process of releasing the form which
the stone contains. \'erv dillereiil in character
are hei atlennated little lignres easl in hron/e,
with sinfaees modeied in the manner ol diaco-
metti~-a Hird ('Juninci with llving hircis sns-
pended on thin chains and a snpple ./".i^i;/^''.
(I'arsons, April 2L!Ma\ 1I.)-.M.S.
Jay Hall Coiinaway: I Ids man has given dose
scrntinx to the sea and its coasts for o\er half
a lifetime— he once lixccl alone h)r three \ears
on a Maine island wilh the resnlt that his
painting. doggeclK natinalislic hiit iindislin-
gnisiied in its earlier phases. has dexelopecl a
realist icliom whicii \ ies h)r!ni(lal)l\ witii that
of Irederick Waiigh. Sunsrt—dalc Winds depiets
a com ine ingU w ind-walloped desolation. waves
achancing like riinaway horses. an inlormal slah
of swarthv rock, a li\erish skv. and a hieak lore-
groiind sliore on which an ahnost prone tree
screams for mcrc\. \\ ith less assistancc from ele-
menlal crisis, two small pic tnres are rieh in
marine textures: Monhci^^fin. an interwash of
oc lierons rock and green pools within the heav-
ing comhers, and Maine (axisI, a vortical wave
rising like a giant carhnnclc in a frontal crevice of
rock. Hefieetions— Winter, with vanishing snowy
hills hehind the hric k-and-grav honse and harn,
pale hroondike trees and an opaline sheet of
water. hrings (oiniawav e\en c loser to the morc
snhtle concpiests of contemporarv scenic realism.
(Keiniedy, March Ki-.SO.) -\'.V.
i.ron Sh<'rkor: Sherker is an ededic who seems
to prefer plasing with snrface design and odd-
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Fine Paintings
aan
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i IIIHSCIIL&ADI.ER
alleries ine.
21 KÄST ^)7TI1 SlRblET
NKW YORK 21, N. V.
LK 5-8810
JOHN
Ist one-man show • paintings
GUTMAN
MAY 20-JUNE 2
COLLECTOR'S GALLERY • 49 W 53
oils • sepias • drawings
Marc
K
Apr. 29 -May 11
LYNN KOTTLER GALLERIES
3 East 65 Street, N. T.
232 E. 58 ST.
Hours n-5 P.M.
CRESPI
CARLOTTA ßaroque Italian
Pt I D I NA After Exhibiting Abroad
APR. 15 -MAY 4
April 29 -May 25
HANSON
Recenf Painfings
PASSEDOIT iet'portVlex'
shaped hames to painting a serioiisis medilated
conceplion. Man\ of his goiiac hes and some of
the oils snggest tacile adaptation ol ihe \latisse
odalis(pie manner: olhers displax no more than
his considerahle \irliic)sit\ at comhined perspec-
tive and the depioN meiit of lepealed shapes and
snrface textnres (cf. Ihe Kiss, Intn;^ue and
Southern Kit(h(ii). In two od landscapes he
rcNcals a more signiluant power; one ma\ haxc
reservations ai)out the c)\c'rstressecl massi\it\ of
lli'^hhnid Mills, X. Y.. hiit Hoois is a scarcc-l\
cpialiiiahle ac hiexcinein. I he harmonic weight
and slernls hlended siiiKtiire makc this a plas-
lic achic"\ement hefore whi(li the supcrlKial
(olor and rlnthiii of liis geinc painting are re-
dncc'd to the liiiik of clexer ccmimercial iliiis
tralion. (Newton. March lS-A|)riI '2.)-^V.V.
(hiievsky, Kaffel, Hoclrij^o : ( hn a Oniev sk\ dis
pla\s hei a(complishment in two media-scidp
Inres in plaster, stronglv modeied heads. iiu hid-
ing A hnsl of Ben (Mirion; and needlewoik paini
iiigs in which she achieves a snrprising Ihiiditv
considering the medium. X'arving her stitches as
one wonid \ar\ hi nsh sirokes, she cieates dif-
lereiiil textnres, cNcn dillcrent moods. m laigish
lapcslries, one ilhisirating a rnshkin storv . an
Ol her a hncolic \iew of Mniden.s Unthiii'^ in a
Streani. (.erlrnde Stein Rallel coniposes hei'
n(»wc'r pieccs adecpiateh. Init her handling of
paiiit is wooden and lileless. and her clialkv
whilc's are monotonons and imvaried. I \pical of
\elson Rodrigo's salin smoolli landscapes is one
of a low. desolate piain heneath a inrhiilent sk\,
Ihe whole clominatecl hv a singlc- l(>wcring tree.
or one of ecpialh nninxiling leirain hathed in
ihe glowing tones of a simset. (Kollier, April
21-May ll.)-M.S.
AK'X Kiiiß: How far Ihrough the l.ooking
(.lass can von get? King's theatrical (in the had
sense) fanlasv is. with some exccptions, too dc-
risive to he profoiind, too anecdotal to he artist-
icallv serions. too loacled with phthalein color to
he appealing (Ihe hhie-green nain Forest is
a happy contradic tion of his iisnal palelle.) His
snpcr harocjne designs (except in Mozartidna and
the other Raiii Forest) affront sensihilitv. and his
mnsical-marine diiineras, if comical, are merely
from the world of Dr. Senss. 77/r /nnni<:r(riifs,
an incongrnitA less en\ isioned than ohserved,
snggests interpretative wit which is heing sc|iian-
clered for the easy l)ite of parodv (cf. Child
l*iodii>x and Old Actress, waspisli conctplions
o\erplayed). (Chase, May ()-IH.)-V.V.
(lliarh's Kilx-l: Exploring a varietv of textnral
means. the artist exliihits ahstrac tions which
ränge from the liea\ilv hnilt-np conipositions in
which glass liher and sand are nsed to the
smoolhlv sinfacecl oils which follow in the Jack-
son Tollock school. Ihe majoritN of the woik
is tastefnl hoth in its color and in its nse of
forms. hiit it is chiedy sncccssfid where it a\oicls
the extremes, Ihe \ertical composition in hro
ken shapes of red, vellow and hlack is among
the hest of these, with textnral ellec ts that are-
rieh hnt nnohtrusi\e. Other experiments. the
painting in whicii a coil of rope is emheclded.
h)r example, are not siicccssfiil at all. (l.ggleslon,
Mav l)-l>7.)-I.R.M.
Mvslical Show: llu- nissticism. in this exhihi
tic*)n, is generallv and (piite vidgarh cxploitcd
as an inept tedinicpie of hack light ing. nietallic
color, ghostlv shimmer. h)reign snrface matter
and evangelical suhjecls. Patricia Allen, with her
rock-stnclded transparent plastic. is ahnost the
worst oflender, hnt she has strong compctition
from Kdward Brvdiger. whose Inricl exhortations
{'l'nhie Ol l.ite and ,\///// de rrofundis) wouid i)e
offensive at the Iowest rnng of astrologs litera-
tnre. William Wiison's l'ultures. thoiigh its color
inasses need moclidation. is the oni\ item wliidi
cpialiiies. h)rmalh, as a i)ainting. ( Biin . Maidi
21 April ().)-V.Y.
Macc-ahiCrtM-nfielfl: I hose h)r!ns whic h haven't
heen snhmerged in a iielter-skelter ol color and
hrnshwork are on the whole attracti\e. I he jux-
taposition of a pink and a light-greeii wall, in
Sjxmisli Courtxard, the green-t ine t nred sallron
skv and the .serene partiticming ot the painting
as a whole comprise (preentield s personal loiich,
also evinccd in Hamlet irit/i In es and W harf.
(Artists, Mav I I .S().)-\ .V.
59
• ANCIENT
AMERICAN
ART
AAI{ON FüliMAN
1 6 P.M.
1 7 E. «2
LY 6 5.513
Points af vif'iv *.>7
David LUND
Alex KATZ
Burton HASEN
Raymond ROCKLIN
Israel LEVITAN
May (hjune l
ASSOCIATKI) AMERICAIN AKTISTS
712 Fifth Ave.
COLLECTORS
of AMERICAN ART, IINC.
«02 l.<-xi.iKt<>ii Av.. (al 62 Sl.) N. Y. 21
N AT I O ^ W 1 1) E — N C» X - P K C) Fl T
T(» Ericoiiranf Vrt 0\vtierslii|i. W(irk< hv Anifiicati l'ainters
."^t'lccli'd für l'iircliasf aii<l Distrilml i(»ri tn McinhtTS in
DccfinlM-r 1!'57. ..,„•, , 4 »
S.'.Od CJuaraiitcfs EACH iiitiiilur an Oruiiial Wuik ..f Art.
Oll Kxhibilioii April 22 - May 10
Frank Blazf Sidnfh I^vingston
CaROLINK FaRBFR FoUS 1. MiLLKR
RosAiJK Ffhrman Hildi \X fl\(;artkn
EKTACHROMES
PRINTS IN COLOR
SCHWEITZER
The Finest Collection of Antique
Carved Wood Frames in America
205 E. 54 ST., NEW YORK • Plaza 3-6750
May 13-31
NOEL DAVIS
Paintings and Prints
HARRY SALPETER GALLERY
42 EAST 57 ST., N. Y. "
* PAINTINGS BY
WM.
MEYEROWITZ
May 20-June 8
CHASE GALLERY
Now At New loco'ion.
^ 29 East 64 St.
LE 5-3991 t
()5th An Till ul Exhibition
National Association
of Women Artists
Ma\ 'V-26 (closvd May 18)
NATIONAL ACADEMY GALLERIES
1083 FIFTH AVENUE. AT 89th STREET. N. Y.
Hours I to 5 p.m., incl. Sundays Demonstration»
RECENT WATERCOLORS
ELIOT
OHARA
April 23 - May 4
GRAND CENTRAL ART GALLERIES, INC.
,15 Vanderbilt Ave., N. Y. C.
Winner of the 18th Annual ACA Competition
r-r DREYFUS
and Gallery Group Show
ACA
63 EAST 57, N. Y.
PROBLEMS OF THE YOUNGER
AMERICAN ARTIST
A pilot study of exhibiting and markefing in New York
By BERNARD S. MYERS
The City College Press New York 31, N.Y.
TEL. AUdubon 6-7592 Price $2.25
Ist American Exhibition
May 9-30
ABIDINE
c a d a n
1 50 EAST 78
gallery
Weekdays 10-5, Sundays 3-6
Student Work From:
May 19- June 1
DORD FITZ
SCHOOL OF ART
AMARILLO, TEXAS
BURR GALLERY • 108 w. 56 St., n. y
MACCABI
GREENFIELD
PAINTINGS • May 11-30
ARTISTS' GALLERY
851 Lexinglon Ave. (64th st.), n. y.
JOHN
WATERCOLORS & COLLAGES
SENNHAUSER
THRU MAY 18th
ZABRISKIE GALLERY
835 Madison Ave. betw. 69 & 70 Sts.
IN THE GALLERIES
Marianne (*(>ld: 1 ikc Maillol uilli vvlioin shc
stiidicd. M;iii;ii)iu- (ioid is ));ir(ial lo sinoothiv
llowing (ontoiiis ;mil idcali/cd lorm. Iltr small
terra lotta midts air j^riicrallv tidily. sviiimctri-
callv c()inj)(>sc(l with lilllc or no <(>ntr(if)fH>st()
to break tlic seil (oniaiiimciit of tlii- imits. It is
a liarinonious pfrlcctioii oi lonii tliat s\\c sccks
ralluM lliaii c'\j)rcssivc forcc, allh()ii};h shc al
Iows licrsclf the inaniicrisiii of shortencd (ah es
and diminisJR'd fccl wlicii il adds to llic halaiicc
of a scatcd fi^iirc. liiere is a depersoiiali/ed as-
|)e(t to the faces ol her figiircs. tlie mothers
(radiing infants. llie hroii/e daiuer. even the
)>ortrait hiisl. iiuli(atiii^ a deteriniiiatioii to hau
ish all tainl of persoiialitv from her art. (Wilden
stein. April .'^OMav 1S.)-M.S.
Criiillernio Silva: I he C()lond)ian artist's sliow,
of loo Short diiratioii here, is iiow oii view in
Washington. I). i.. One trusts ]\v will retmn to
he exhihited in more availahle surroundin^s, for
his is a talent (oinpounded of wit aiul elegant
(raftsuianship. Haxinj; sludied stained glass tech-
nicpie in Irance. tanght drawing in Bogota and
heen iinpressed hv l'ern\ian Indian scnlj)line,
he has svnthesi/ed these (lisei|)lines and discov-
eries in an ahstract fantasia of (olor engravings
and drawings of siuh high (pialit\ aiid \arioiis
matter as to ino(k atteiiipts at selccting the
finest. Vw'o small xariations of Ixcd de pnjarns
(i.e., "nets to (atch hirds "- iised 1)\ the peasantry
in S|)ain and elseuhere during the inigration
season) , a snhject he has also |)ainled, are en-
chantinglv re-\isioned graphicallv; Citv rrith Foß;
is a sidfiision of hrown gvometrv with |)ale gray
poetrv, and Harros is a pnre miniature line
drawing of whimsical hoats against a green mar-
l)le grain sky. His harmoni( masterworks in oil
are Red de pnjaros, Pescador and Rito lunar,
showing tremendons gains in aiuhuitv of con-
ception and in pliahililN of textnre and colorover
the j)re\ious paintings. 1 liev ha\e a deep, inter-
nal eohesion. (New Sthool, Mardi 18-31.)— V.Y.
Luis Quiiitaiiilla: \\hile not neecssarily an in-
novator, Spanish-horn ()uintanilla is an accom-
plished j)ainter of solidly constriicted still lifes,
landstapes and fignre paintings. Althongh his
snrface treatment is iiionotonouslv nniform and
all elemenls tend to he of ecpial weight withoiit
dillerentialion. he (ompensates for these draw-
hacks with an imaginative and poctie nsc of
color, espe(iall\ in Wonuiu of the Sea with its
ridi plnm (olor. violets and golden tones, and
a daring (ompositional sense. at its best in the
.S7/7/ Life xrith (jrapefruit. He has recentlv re-
turned from Puerto Rico wherc he painted a
Portrait of Pablo Clasals wliich will be int hided in
the show. (Wildenstein, \i)ril 23-Mav I1.)-M.S.
Ahiciin«*: Abidine Dino do give his füll name)
is a I urkish |)ainter with a snhjeet, one of the
big. sad sul)je(ts of oiir time, man at war. The
mi(ro(<)sm be has chosen to crcate— in a style
de Otlomani/ed bv contact with the W'est (i.e.,
with Kussia and Paris)— is a desert-plateaii land-
s(ape whidi, on small canvases and large, he
builds with shafts and ])lanes of earth color, as
ominons as the shadows of cainion, bnt rieh in
ibeir contrasts of spa(e and depth, of the hori-
zontal and the vertical. If there were no ligiires
indnded. these would rcmain noblv spacioiis
al)slra(tions of snn wi|)ed solitudes. Uut there
are hgures-never enongh to do more Ihan stain,
or give scale to. the leafless, solar panorama—
ligures with rifles, and sometimes bainiers, in-
cl ist in(tlv engaged in what ap|)ears to he a list-
less and imending retreat, or galhering for a
skirmish with enemies nevcr visihle. Ihev rccall,
e\(('j)t for thcir sunhurncd blies, those diilling
S(('nes in the Kussian Ulms of Krinler and Iran-
berg, where single men on snovvhelds at night
were hxnsed in the mo\ing beani of a train's
headlight. (Cadan, May l)-3ü.)-V.Y.
Jviin Varda : A trancjinl Mediterranean world
of snn-filled an hitectinal lands(apes and stroU-
ing women is the snhject of these collages. bnt
tbeir pittorial langnage sulfers from doving re-
finements. (.littering fabrics, bils of suede and
bnrlaj) are woven iiUo tolor chords of j^hosplior-
cscent lilacs. oranges and pinks to |)roduce rcsnlts
almost as |)uckish as one of the titles— C7</oro-
X
NEW
FRENCH
ACQUISITIONS
KOOTZ GALLERY
1018 MADISON AVE. AT 79, N. Y.
X
RICHARD
FLORSHEIM
MAY 6-24
JACQUES SELIGMANN 5 E. 57
lel (1 6-3869.70
max
granlck
fine frames
restoration
fiftylwo
weil rifty-iixth Street, new york, new york
Contemporary
I Painting and Sculpture
= May 13-June 7
FI]\E ARTS ASSOCIATES
I OTTO M. GERSON
^ 41 E. 57th St., IV. Y. C. ( 16th fl.)
DAVID
Paintings
May 13-June 1
VON SCHLEGELL
POINDEXTER
21 West 56th St.
JUdson 6-6630
An Intimate Collection
April 22-May 25
A private collection of paintings,
drawings and sculpture.
DAVIS GALLERIES 231 E. 60 St.
American and French
Paintings
HARTERT GALLERIES
22 East 58th Street
New York 22, N. Y.
CICERO
Paintings
P E R I D O T
Through May 25
820 Madison Ave.
af 68 Street
I
GOLDIE
May 6-18
LIPSON
Paintings • Sculpture • Prints
barzansky galleries
■■^«■^1071 madison ovenue, at 81 streetH^>M"^
RECENT PAINTINGS
to May 11
RHEA
BROWN
BODLEY GALLERY • 223 E. 60 ST., N. Y.
MM^H^^^^ Exhibition of Watercolors «MR^-Ba^HM
EILEEN and FREDERIC
W H I TA K E R
in Cooperation with The Spanish Institute
May 7-17
GRAND CENTRAL ART GALLERIES, INC.
,15 Vanderbilt Ave., N. Y. C.
WINNIE BORNE
AN
SHER
May 5-18
DÜRR GALLERY io8W.56ST.,n.y.c.
You know those rare days when
everything checks? Air smells good.
Food tastes terrific. Even the old face
looks good in the mirror. Today can
be that kind of day. Just do two
things. Call your doctor for a thor-
ough medical checkup for Cancer.
Then write out a check — a nice fat
one — to the American Cancer
Society, and send it to "Cancer" in
care of your local Post Office.
AMERICAN CANCER SOCIETY
60
ARTS/.u./v 1057
l>li\U alter Alles. \ piclmc on ihc wall liauily
scciiis ihc a[)|)i()j>rialt' vc"hi(ir for lliis (U'cora-
livf, pauhwork (jiiilt sciiNibililN . which would
he far inorc* comlortahly placfd in icxtilc or ce-
lainic dcsign. (ßoissevaiii, April Hi May 5.)— R.R.
Rirhurd Flörsheim: FloislK'iin suhmits the in-
(liisirial Skyline and ils varioiis units lo the ro-
inantic coniproinise in a style uliidi is hecomin^
in( rcasinglv familiär amon^ paiiilers wlio take a
siinilar point for depailim'. Cities at ni^lit. vvater-
Ironts. (Ieni(ks and oil lefineiies \\\v (clchrated
seiiiiabstiadK lor the unintended heaiitv they
assiiiiie in the {reali\e eve. and are re loiined as
giills and giids ot drainaticallv tonlained (olor
whidi iniplv tiiinscendental iiiysterv. Floisheim's
paintings are suj)eii()r to iiiost in this (alegory;
iiis parallel adivity as piinlmaker. no doiiht,
gi\es him a tedinital (onscionsness whicli makes
of ea( h (aiivas a dis(iplined entits with ils own
unlaltL'i ing siruduie. And he knows how to
inakf (olor the lile of his design, so that every
painting is aniiiiated hv :i singnlai (hroiiiatic
l)od\ ol light. (Seliginann. Nfav t)-24.) — \'.\ .
Caned«»: ' ''*' hodx heaiitifnl is here evalled. to
its greatei glorv in white line on masonile or
peiuil on papei. to a soniewhat lesser stale in
awkward oils (in whiih the ideali/ed laccs are
alllided in (onnnon with red noses). I here are
also hnidscapes in oil; smooth-snrlaced and hrit
tie. thev look air-hriished. In eNcrv work. real
f)l)ser\at ion seeins to ha\(' stopped short some
tinu' long hefore the pittine was hegiin. What
reniains is a < learlv fadle line at which some are
still (ontenl to mar\el. (.iven as it is, however.
lo tili painter's (hosen snbjeds. not even such a
line (an rdrieve the works from a persistent
and shallow decadeiue. (/odiac. April 8 27.) - \.\ .
ßernard Childs: Ihe softly (olored. eldied ah
stradioirs of this art ist emplov, it would seein,
every possihle adxcnlure with a line. wcaving it
across a fcvcred suhtexture. winding and unra\-
eling it, tlii(kening and tiiinning, separaling it
into (liscontiiuious bnt diredional segments. fray-
ing it out as a dotted trail or a dentation. dis-
peising il as a mass ol (onstituenl l)lols. Ihe
conligurations which issue from this sensitive
ingenuitv are as tantali/ing as thev are often rc-
vvarding. Euphoria is as e\(piisile as a Chinese
landscape. suggesting a lift of hirds in a dawn
unlramincicd save hv the inkv teMiired emer-
geiue of Ical -aiul-reed h)rms from a lighl out of
this World. (\\ iltenhorn. April 22-.\hi\ 18.)-V.Y.
John (^iitinan: («ulmans (aseins are intri(ate-
Iv patleriu'd wilh networks of repeated lines
huilding s(piares. rectangles. triangles. ar(s. Ihe
colors too are repeated, emphasi/ing the design
at tlie sanie time that they clarifv the image.
Most of ihein are small vertical panels. 1 hree
;\f^„_l)la(k-l)ear(le(l like thiee aiuient prophets
or kings— is coloied in grav. lemon vellow and a
light l)la(k. and one can imagine it enlarged as
a niosaic mural. 1 axro l'iew is also verv ni(e. its
roof lops biiilt into a cuhistic design of (ilied
verticals. its colors keved from vellow to orange
and a reddish hrown. Ares are less successfullv
nsed in Colossemn Xiii^lil: the tilted tiers are too
crowded. the pale hiues too (leli(ate. And in
several more totallv ahstract works such as Mjrfit
Fuo^ue, the lack of any definite image reduces
thc^whole to a repetitive nelwork of l)la(k lines
with a husv scattering of color stops. (Colledors*.
Mas 20-|une 2.)-K.I\
John Br/osloski: He airs a cunent presump-
tion that if von sovv a (anvas ireelv with stadalo
l)iit undireded Makes in a consistent ke\ . and
hold them together with aii)itrarv dividing lines,
yoii ha\e interestinglv ahstract expressionism. and
that if you go further (hut no more rellectively),
hy dividing these areas svmmetricallv (like an
e\celsi()r-|)a(ke(l Mondrian). or (omhine separate
paintings in a single (vertical or hori/onlal) ar-
rangement (and call it.e.g.. Trimono), \nu have
Advanced Ahstract Expressionism. (Artists, April
20- May 9.)-V.Y.
Pre-Columbian Jewelrv: 1 Ids is an extensive
showing. from the colledion of F.arl Sieiulahl. ol
small jade and gold pieces-nose rings, eardrops.
pendants aiid hreastplates-ritual jewelrv that is
intricate and heautilul. wrought with all the
linesse that one ordinarilv associates with the
61
NEW SCHOOL
66 West 12th St., N. Y. 11
Sianmer Tertn
JUNE 3 -AUGUST 8
ART
Drawing, Oil Painting: for be
ginners and advanced students
(evenings) EGAS
Fi 114'
Arts
Applied
Art»
Crafts
Life Class (evenings) EGAS
Painting (mornings) EGAS
Sculpture, difFerent moterials
(evenings) PASCUAL
Color and Black and Wbite
Woodcuts: Process ond technique
(evenings) FRASCONI
Workshop in Photography: basic
(evenings— twice wkly.) ABBOTT
Jewelry & Leather
ASK FOR CATALOG
SEGEL
OR 5-2700
JOHN HERRON
ART SCHOOL
INDIANAPOLIS. INDIANA
Pdnt'tng, SculpiuTt, Commertüi Art, Testhert' Trsimmg
Conjeti BFA.. MF.A. smdB.AE. Degreet.
• DONALD M. MATTISON, Director •
ST. LOUIS SCHOOL OFFINE ARTS
WASHINGTON UNIVERSITY ST. LOUIS, MO.
Professional trainlng leadlng to the B.F.A.
deifree in Painting. Sculpture. IllustraUon.
Advertislng Art, Dress Design, Fashlon
Illustration, CYafts. Teacher Training Course.
ROT(?. Students may live in supervised re«l-
dences and enjoy mtfny Unlversi-ty activitie«.
Bulletins
Kenneth A.
Write for
Hudson,
Director, Room 20
CLEVELAND
Institute of Art
»KOfESSIONAl/ < otologuo
TRAINING / , ,,4, EAST BLV
^ 1 CLEVELAND 6, OH
O.
lO
SCHOOL
O F ART
L AYTON
Painting. Illustration. Advertislng De-
sign, Far.hiori IllustratiDn, Srulpture,
Phot();;rapliy ; Indiistrial, Ititerior and
Afhitectural Design. Faculty of profes-
sional artists. H.K..-\. degree. Coniplctfly rnuiiern neu huild-
inu nvorlnokin',' Laki .Micliiyan lu-ar dowrituwii area.
:?7th >»'ar. SutnimT. Fall. SpriiiK ttriiis. Catain-;'.
Dept. 557, 1362 N. Prospect Ave., MMwaukee 2, Wis.
OX-BOW'The SUMMER SCHOOL
•of PAINTING at
The Oldest
Summer Art
Sc h o o I in
the Midwest
• SAUGATUCK, MICHIGAN
Comprehenslve courses in
PAINTING'CRAFTS-GRAPHICS
FOLDER AVAILABLE
JUNE 24 ' AUGUST 24
Mexico's INSTITUTO ALLENDE
Year-round courses: Painting. sculpture. graphics, mural,
photography, all crafts, Spanish . . . Begiiiners or advanced
. . . International faculty . . . Oedits, .MFA degree . . .
Fleid trlps, perpetual sunshine, room and board from $2
daily In Mexico's most beaiitiful rolonial town. Illustrated
prospertus?: INSTITUTO ALLENDE, Box 100, San Migu*i
Allende, Gto., Mexico.
IN THE GALLERIES
l*.y;s|)fi.nis ii) thc fit'ld ol fasfiioiiiii^ personal
(Mii.iiiK'tits. I hc work, lioin thc ri'^ioiis of Pana-
ma, (losta Rica and Mcxito. iiuludcs soiiic par-
ti<ularlv iinprcssivc Oliiuc jadcs and a iiiiinhcr of
int'lic iiloush workcd slicll ( arvin^s. nian\ of vvhich
Aic iK'iii^ shown for thc Inst t inu". Amon^ llit' inosl
ht'aiitifui piccfs on txhihit aii' a |)aii of opi'ii-
work )^i>\d caipliij^s in \\\v shapc oi toilcd siipcnts.
(Martin U iddilicld, April 2:i-Ma) I8.)-|.R..\I.
IOi-ii:i \\«*ill: Ol ^Mom^In I'Aprt'ssionisl unoi .
llicsc siidptincs art' (onctTnccI al)o\t' all will)
(Ifninila! luiinaii passions. (.lirf, loxc. lualcrnilN
art' llic ahstrad ihcnics \vlii(li lakf tlu'ir place sidc
l)\ sidc will) (cpialK cliMncnlal Kihlic ai suhjci (s.
In sInIc. iIu'sc Works dcpcnd on llu* (lmnk\.
jat»<>('d siiapcs of inasicrs liki- liarlat li. shapts
whidi undcilinc thc |)livsi(al and ps\ t liologit al
strain ((miinon to niost cd tlu* lij»inc's. I inonj^li-
oiil. liowcNci. \\('ill hap|)il\ a\oids ovcrstalc
iiu-nl. lor all thc inhcrcnt drania of her thcnics.
(•cncralh. thc singic lij^mi's. whidi tcnd toward
1()() hu ilc. (ompat I sl\ li/al ions. arc Icss rcwardinj;
iIkim sU(Ii ^roups as l'.Hjdh <ni(l l'.lisha, whcrc
ihcrc is a ^rcatcr spalial iiit(i|)hi\ of \oids and
solids. (Sdioncnian. April L'.SMas l().)-R.K.
Jolin Slaiih'v: I hc li<;iirc prominent satircs in
oil icstih to an o\crpi<)lon*;cd i'\j)osnrc lo ihal
iniUclIwiiofKi (uh ol ii^lincss ( harat Icri/cd l)\
(icori^c (•!<)>/ <7 (iL In onc print. C\(lc, hc c rc
aics an o[)cn s|)a(c lonn in whith thc trcatnicnl
lan hc (oiidortahiv attcptcd. And another hhick
and white. 7'rrr.v. has a coinprcsscd artiddatioii
whidi picascs. Oliio River, an oil, has an cas\
s[)alial fccl, hiit his hcst paintinj; is Slill Life,
tlic shcrhct hiicd planes ni(cl\ niolded and
shadowcd. ( f Icisdnn.ni. \ptil 2") Ma\ HO.) \ .N .
Dirk Stark: Allhough thc eoniposition is cjiiite
j^cneralh effcctive in ihesc sporting sccncs in oil,
thc [)aintinp; itsclf ix rathcr thin and uncertain.
(F.pgleston, April 8-20.) . . . Robert M/cKinney:
Searoa.st witfi Sjiow, in icv white, bliies and
ji^rccirs. is thc inost aetornplishcd work in this
exhihitioii of j»;cnerallv ahstrattcd. riddv colored
landstapcs. iKottlcr, April l.')-li7.) . . . Annie
L<Min«\v: I iishK |)ainte(l. thesc landstapes in oil
ran^c hetwecn thc dctoratixe stvlc of Pitik WOrld
and thc soincwhat (onlriNcd primitive stvlc of
lilur Mrrrtiaid. (K^rlt-ston. April L'l-'Mav 1.) . . .
Loiiiidro Dt'l^ado: N'ery eoinpctcntlv workcd
walcr(()lors. tri'iuia||v of \cw Knj^land seas(a|)es.
Atudi^dusctt liax, in cool hines and j»;iccns. has a
sensc of (ontiol. \ i^oi and j»(Micral airiness vvhi(h
makcs i( onc of thc !)ettcr pieces on view. (kott-
Icr. \pril 15-27.) . . . Knickcrborkor Artist«
Anniial: l'ii/c winners in this tcnth ainnial
showin^ of paintinjj^. sdilptiire and «j^raphit work
iinludcd )ohn R. (.rahath. Iri-dcrick Whitaker
and Naiuv R. Peasc. Othcr notahic work in a
larjj^c and j^cncrallv inicM'n exhihition was (on-
trihulcd hv Peter lakal. Haim Mcndclson,
Kli/aheth Wmi/ and Natu \ Kllcn (raig. (River-
sidc Museum. March 3-24.)-J.R.M.
Marc Kovcn: Xiidcs arc treatcd in a varictv of
manners. froin thc cxaclly cxcditcd drawinjis
froni thc niodcl to (.re(ian goddcsscs and \ isions
of j;reen h^incs in j^rceii landscapes in oils and
in scpia. ( )((asionall\ a discmhodied head lloats
hcNond a mist\ \cil. I hc draftsmanship is im-
|)C((al)le. (kottler. April 29-Mav 11.)... Paula
Sl«'ig;crwald: low er Manliattan sccii froni
Brookivn hevond thc hridjjfc is portravcd l)v
rows of Ncllow-whitc lij^hls againsl a grav-hlatk
skv in a rathcr ( rudc hnt fonefnl |)aintinjif. wliilc
a (ontiast in niood is j)ro\idcd hv thc hright.
sun-dreiuhcd litllc paintinj» of a j)i( turcscjiic
Mcxitan strect. Summer lan{|s(aj)c is (illed with
(ool. refrcshin^ ^recns. hut thc (arcfnl ennmera-
tion of lea\es on thc trees is unnctcssarilv lahori-
ous. (Kottler. Mav LS 2.").) . . . Argenl: lisa
l'olhcnuis has a dcft. light. ahsoliitelv |)rceisc
toudi in her Dutr/t Flowers, a frcsh and dclicatc
rcplita of thc most j)crfcet of Dntdi flowcr
painting. and also in her S7/7/ Life with its faint-
l\ tinted j»;ravs and harmonious i»recns. C.arv
l.iston paints a galhcring of soleimi owls. Doro-
tliy l'crriss givcs us a dose iip view of innleisca
lifc in her Marine, and Marion llaldcnstein in-
trodiues a l)rij»hl note with a huiuh of dallodils
in her (omposiiion of studio props in winlerv
hrouus. ( \piil I 20.)-M.S.
LETTERS (ontimied frott} /wi^r 7
hours. we woiild hasten to agrec. hut with oue
pro\iso. uamclv ihat iIjc .nlisl lliinli jhout art
a good deal. if not all of tlie time. \v\ ncilhcr
in llic w ritten responscs nor in thc open end
inter\iew's [i.e. direct, mdimiled inlerviews] was
this point raised hy anv artist." Fiuther. wc sav
(p. 20): " 1 he iinpoitant (onsideraliou in this
(onnectiou is thc degree of seriousuess with
whidi thc man takes his work as an artist; ihat
he work out of real (oij\i( tioii and not Ironi ans
spe(i()us lashi()nal)Ie or j>seiitlc) intcllcctual mo-
ti\ation."
It was fioni thc ahove ( ircunislantcs that our
asso(iates gained thc imprcssioii that tlierc weie
■■( Icar e\iden(es of dileltanlisin" and of pcople
not oNcrwhclmiiiglv (oncerncd with (reativitv.
In othcr words, it hetomes relativelv casv in thc
metropolis at this |)oint for inanv to j»ain acccss
lo laii»(* i>rouj) shows. as our sur\ev ( lc;ul\ iiidi-
(ontiJiucd <>)} ffdi^e hf
OBITUARY
Arthur Everclt Austin, Jr., diredor of
tlie |ohn and Mahd Ringling Museiun of
\rt in Sarasota, Florida, died in Harth>rd,
Conneeticut, on Mardi 29 after an illness
of scNcral moiuhs. Prior to his assoeiation
with thc Rinf^ling Museum. Mr. Austin
ser\ed as diredor of Hartford 's \\ adsworth
\tlieneum. He was liftv-seven vears old.
No. 162 EASEL
Dual purpose
studio easel for
oil and water color
painting, adjustable
to any angle
including
horizontal and
forward tilt. Holds
canvas up to 76" high,
folds flat. Made
In England from
fine beechwood.
that little extra
IMPORTED quality
at prices
YOU can
afford
Canadian Agents: THE HUGHES OWENS CO., LTD. Head Office, MONTREAL
Californian Distributors. THE SCHWABACHER-FREY CO., SAN FRANCISCO
^iiJST OFF THE i^nF:SS
Sixth Edition
MASTAI'^
NATIONAL DIRKCTORY
OF
THi: U.S. ART & ANTTQUK TRADE
ART MUSEUMS of tlie U.S.A.. C.VNAD \. MKXlCO. liKlXdlM.
'IHK BRITISH ISLKS. !■ R ANCK. TTAIA'. TIIK XKTIIKRL AXDS
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ART AND ANTIQUE DFALERS :ina KliKlrcd Tradcs— 48 clas-
slfications- Anicricana, Arms and Armnrs. Auctionecrs. China, Coins
and Mcdals. Gifts, Intcricr Dccoratnrs, Palnlings (classlticd),
'J'apc-irics, SlUci. clc.
AUCTION PRICES for Paitulllu^^ 1953-56 (^I.IHK) ;ind ovcr)
Pricc $17.50 H>- mail ;)iily. Payincnt with <»rdcr.
MAS TAI Pri5LISIIIXG CO., 1\C.
21 Käst 57th Strect. Xcw York 22
62
STUDIO TALK
BY BERNARD CHAET
WAX paintin^, cinploycd a^cs ago hy (hc Kji^yptiaiis, (irccks
and Romans, is somctiincs (allcd "cru austi("— whidi
litcrally incans "hurni in. ' Ihc incthod iniplics hcat. As
practiccd todav. thc j)r<)(css involvcs thc hcatini; aiid niixinp;
l()j:^('thcr ol (lr\ pi_i>inciii and vvax. \ j)()ital)lc hcatiiii; instrii
nu'iit cnal)lc:> onc to "hiiin in" thc niixtufc. VVhv has this
incthod hccn rcvivcd in modern timcs and adaplcd to (ontcin-
porarv cxprcssion? Possihly l)C(ausc ol thc oj)ti(al (pialitics of
vvax, its transluc (iK c and hrilliaiuc. Sudi. at .m\ latc. arc thc
fcaturcs dicrishcd hy Ksthcr (»cllcr. who has hccn partici-
patinji; in this rc\i\al aftcr cxpcriincntin^ with ciuaustic for
scvcntccn ycars. In thc (oursc ol her work slic has dcvclopcd
a nuinhcr of mcthods whidi should iiitcrcst paintcrs <i»cncrally.
Miss (icllcr cniploys a two-hurncr clc(tri( plaic with rhco-
stat hcat (onirol. Thc palcttc is an un^ahani/cd stccl hox (it
shoidd hc notcd that ,L;al\ani/cd stccl discolors pii»mcnt). T Ins
hox. whidi has lar^c holcs ( ut ont ovcr thc hcatin«; units, is
placcd on top of thc clc( tric sto\c. ( jrc nlatinu;^ air kccps thc
heat cvcn. T hc wax is heated on thc palcttc, iiiixcd with drv
pii^nicnt and a|)|)licd to hoard or caiixas. whcrc it drics im
nicdiatcly. Ihc 'hurniniL; in" can hc donc diirin^ thc proccss
of paintiiii» or at its (oiulusion. T hc prcfcrrcd instrnmcnt is
a tiin^stcn imit plii^^cd in to an ashcstos-covcrcd handle. iMiss
(icllcr prefers this instrnmcnt to a hcat lanij) or hlow tordi:
it is lij^ht in weicht and ,i»ivcs enoiiji»h hcat to fnse thc piji^nient-
and-wax mixtnrc thorou,i»hly, so as to insure adhcsion and
hardenin«» of thc smfacc. Xow Ict ns pnxecd to thc prepara-
tion of thc wax incdimn.
Expcrimentation and researdi Icd Miss (»cUcr to dioose
hccswax, whidi she lonnd to hc thc most transparent of thc
waxes. She prefers hlcadicd or white hccswax to thc yellow
virgin hccswax. h)r thc vcliow wax discolors thc hlues. She also
dis(()vcrcd that \iri>in wax (ontains pollcn, so that anyone
with a slii>ht allcrjL»y might hc adected. Virzin wax, with its
honev fra^raiuc, is plcasant to work with. hnt Miss Geller
finds hlcadicd wax distiiutly inorc pra(ti(al. She advises thc
pnrdiasc of a material stampcd "pnre i)ccswax," availahle at
most art sliops or dru.<>stores.
T hc hlcadicd wax is added to dammar crystals whidi have
hccn mcltcd in a (an on thc stove j)alettc. Miss (icller's lormii-
la is onc part dammar crystals to two parts wax, and siiue she
uscs a rii»id snpport (,i»esso on masonite) no oil need hc added.
HowcNcr. she ach iscs an addition of teil per (cnt linsced oil
lo this mixtnic if onc slionld need a more pliahlc nicdinm lo
paint on (an\as. I he medium is ( nt into cakes whcii cool.
VVhen onc is rcadv to paint. a cake is rcmclted and drv pii;-
mcnt added. T hc new mixtnrc is ready to hc applied to thc
snj)port with pahtte knixes or hrnshes. Careful usc ol thc
Ahove: Estlier (ieller *T;///7//?/^ /;/" n f)ainti}i}r u'ith n tuno^sleti iinit.
The st(n>e, at rii^/il. is eiwered willi n uielnl [udelle. lii'^ht: 1'\rm)Isi-:
scRKKN, eiuanslii with <^()ld lenf.
En(atisti( : I ntcrvicic with l\stlicr Geller
hiistle hrnshes |)rc\('nts tlieir hcini» scorched. lor ,i;l.i/in,L;. sahlc
hinshcs arc rec ommended. Irne. turpentine (an hc nscd to
ihin thc ula/c mixtinc hnt Miss (.ellei has learncd to dispense
uith it. (Ol (omse she nses tnrpentine to clean her hrnshes.)
"IWirnin^ in" (om|)lctcs thc pro(css.
Ihe ahoNc is onl\ an outline of thc cn(aiisti( proccss,* hnt
Miss (.cller's answers to specific (picstions filied in a nnmhcr
ol details. W'hen asked il a (crtain proportion ol wax and
dammar to pi^meiit is recpiircd to insnre permaneiux, she re-
j)lie(l that "anv j)roportion is feasihic as Ioiil; as it holds on to
thc snpport." .Miss (icller Imthcr inlormed me ihai she has
not eiKonntcred an\ ladini; oi crackini; ol snrhue in her loiii;
('X|>ei iciuc. Knt ihe proporiion ol wax and daimnar to pii;-
mcnt. she cxplained. does inllneiuc thc snrlacc: a lot ol pi^-
ment and little medium j)rodu((' a mal suihue. uhercas a
^rcatci Proportion ol wax makcs it possihle to polish thc paint-
ini; at thc end. .Morcover. a j^reat dcal ol dammar makes lor
a i»lossier sinhuc. She poiiUcd out that throu<^h Ins lornuda
tlie painter didates ihe kind ol snrfa(c hc desircs. K\(*n thi(k-
ciiiiij.» a^cnls such as powdcrecl ( la\ and lithoponc (an \)v nscd
to hei^hten thc impasto. ( )i if a j)olished-,i;old cllec t is desired
.Miss (.cller recommends phuin^ ,i;ol(l Ical on the «•csso in thc
traditional ,«;hie and dav-holc method: a hi.<;h ^loss (an therehv
hc adiicved tlirou,<;h hurnishin«;. On the othcr hand. onc (an
prodiKc a dull ,i;old l)\ appKin.i; Poivmer lemixra to the
(hosen arca and applvini; Icaf while ihe Poivmer is wet. In
ocncral. leaf is applied (irst lo whatcver arcas thc painicr desiics.
Does thc nse of heatiiiL; apparalus niakc for si/e liinitation.-'
"I nuscil find it possihle to work in any si/e." .Miss (icllcr rc-
plies: 'Thc priiu ij)al limitation is adjustiiiL; to a ditlcrent tcmpo
of paintini;. Kn(austi( has a tcmpo of its own." Bv this she
nieans that althonj^h thc hol wax drics immediatclv on toudi
ini; thc (aiuas. the pausinii; to "hurn in" se(tioiis ol the paint-
in,^ does Interrupt n<»rmal oil-paiiitinii» workint; mcthods. Wax
does not hlend: hlendin.i; of ed.i^cs. when desired. is adiicNcd
in thc fusiii<; pro( css. \ i^reat deal of heatin,i4 softens hounda-
rics, (ausino thein to niclt— hlurrin<> the hard ed,L;e. I hc
"l)urnin.i;-in" j)r()(ess, thcrch)re. is not just .i me(hani(al pro
ccdnrc. hut rathcr pari ol thc adnal paint int; pro(('ss.
T hc cn(austi( method thus rccpiires not onlv sjxcial e(pii[)
ment. hin a period of apprentic cship. \vi if one admircs the
(olor hrilliaiKV. the iranshuent (pialii\ ol wax. immedialc
drvino and thc (hallende of an adjusicd tcmpo, tiie time in-
xcstcd will not seem a major ohsta(lc.
*I'()r an exlended accounl of the i>r(Kess the reader is refened to
Encaustic: Materials and Methods. bv Iraiues Prall and IU>( < a li/dl
(l.car PnhlisluTs. New ^n^k. !!M9).
ARTS/M^/v /95
63
the hans hofmann school of fine arts
52 west 8th street • new york city • phone chelsea 2-4933
personally conducted
by m r. hof ma nn
Summer session
provincetown, mass.
june 24 — aug. 30
THE SCHOOL OF THE WORCESTER ART MUSEUM
CATALOGIE ON REQUEST — ADDRESS: 55 SALISBURY STREET. WORCESTER. WAS3ACH tSETTS
STUDY ART IN VERMONT
JUNE 24 to AUGUST 16
Studio classes in Oil and Water Color. Outdoor sketching in lovely New England setting. Abstract ond
traditional. Also courses in History and Appreciation of Art for College credit.
ADDRESS: Director of Summer Art Program WINDHAM COLLEGE, Putney, Vermont
NSTITUTE
OF CHICAGO
Summer
School
Drawing and
Painting, Outdoor Studios; Sculpture: Let-
tering; Layout; Advertising Design; Ce-
ramics; Fiat Pattern Design; Dress Design;
Weaving; Interior Design; Accredited.
Term begins July 1, 1957. Write for
catalog.
Michigan Ave. ot Adams St., Chicago 3, 111., Box 257
BOSTON MUSEUM SCHOOL
A DEPARTMENT OF THE MUSEUM OF FINE ARTS
Est. 1876. Professional training withdiplomo course
in Drawing, Graphic Arts, Painting, Sculpture, Jew-
elry, Silversmithing, Commerciol Arts, Ceromics.
16 Traveling Scholarships. Unlimited contoct with
Museum collection. B.F.A. and B.S. in Ed. degrees
granted by Tufts University. Catalog.
5VEN/NG SCHOOL cerf/ficafe course in Graphic Arfs,
Sculpture, Ceramics, Painting. Special courses in Cal-
ligraphy, Lettering, Interior, TV, and Plastic Design.
RUSSELL T. SMITH, Head of School
230 Th« Fenwoy Botton, Mos».
OHARA
WATERCOLOR
COURSES-1957
Washington. D. C. through May 26 2025 0 St. N.W,
Joplin. Mo.. June 3-15 . Mrs. D. J. Doan. 216 No. Byers Ave.
San Francisco. July 15-Aug. 2.Artists' Coop.. 2224 Union St.
Tacoma, Wash.. Aug. 12-31
Mrs. Ruth Babbitt. 11605 Gravelly Lake Dr.
Seattle. Wash.. Sept. 2-14
Mrs. 0. T. Hansen. 5106 Palatine Ave.
MORRIS
DAVIDSON
School of Modern Painting
PROVINCETOWN
Betöre June Ist — 65 West 56th Street
coiumbus 5-7879 New York 19
OGUNQUIT
SCHOOL OF PAINTING & SCULPTURE
ROBERT LAURENT SCULPTURE
JOHN LAURENT PAINTINGS
GRAPHICS
July-August Cafa/og * Ogunquit, Me.
MOORE
INSTITUTE
opART
The Professional College for Ca-
reer Women. Il3th year. Interna-
tlonallv kiHiwii artist-lnstructors.
State accredited 4 year B.P.A.
or H.S. (leRree courses in Adver-
tisioK' .\rt. .\rt Ediicatioti. Fashion
DesiKM \- Illiistratitni. Interior «St
Textile Design, I'aititiriK \: Illus-
tration. Day t'v Saturday classes.
G.I. approved. .New residence hall.
I'hysician. I»w tuition.
Catalog: 1326 N. Broad St.
Philadelphia 21, Pa.
ART CABINET
Specially designed for ort werk, prints and
artists' materials. Extensively used in Studios
and by schools, museums, golleries, agencies
and churches.
An eleven drawer cablnet of furniture steel.
Cabinet size 29y2" wide, 40" high, 26%" deep.
Inside drawer size 27%" wide, 25%" deep,
2V8" high. Cole grey or olive green.
No. 2526 . . . only $89.95
Af your Arf Supply Dealer or Write
COLE STEEL EQUIPMENT CO., 415 Madlson Avenue, N. Y. 17
catitinucd froin page 62
(ati's. and wc uoiukr to "what cMtiu wc aie
ohiigatcd to aitl aitists of ihis lype" (p. 1^1).
Nor aic wc, as you say, "conceriud uitli statis-
lics as puii'lv t'(()iioini(: facts." WC usv om inatc-
rial to show tliat the wortliy aitist is vciv miidi
toiucincd with his survival in the face of rom-
pctiiion froin diUitaiitcs. Surcly von will have
iiotcd how inany tinus we attack tlu« notion of
c-ncoinaging ainatciii art. \ot onlv do tlusc arna-
tcms pic cinpt a good propoition of tho avail-
ahlc gallcry Space; worsc, they give a si/cahle
j)cia'niage of thcir works awav giatis. It is diffi-
ciilt for nie to iniagine how any toiiscienlions
rcader conid have missed that onistanding i)oint.
As to wlietlier or not a connnnnitv art center
call solve the niany existing piohleins, we prc-
scnted this idea nieiely as a possihilitv and far
Icss dogmalically than von reject it. Neverthe-
Icss, conipctent art people with as innth e.xperi-
enee in this arca as anyone in the (onntrv do
think it has possihiiities.
In yom haste to nnderscore tlie studv's lack
of "an nnderstanding of artists and the cieative
act," yon overlook tlie anthor's associaies and
aclvisors: iniisenin directors, art Organization
executives. gallery owners, teacheis of art, and
fiiialiy his artist colleagiies who did the per-
sonal interviewing of liftv artists and thirty gal-
lery diredors. Yonr concern "for the well-heing
of (leative artists" does yon credit; I am reason-
ahly (erlain that mv own concern is as great
and as geiniine and of fai less recent date.
Ikiiiaid S. Myeis
(iity (lo liege of New York
New York Clity
SIDNEY GEIST
continued jrom page 21
scKJal and scientific s))lH'res; om (ontinned exist-
ence depends npon it; and it is the ne(e.ssary prel-
ucle to any fiitme developmenl.) Let ns not ask
for sculpture "designed inlo ' a plate; this only re-
siills in a mnffled Statement that (onfuses the
\<)i(cs of the sculptor (uul the archited. Let ns
ratlicr place the sculpture. in all ils unlampered-
witli singularitv. heside. in or on the aichitec-
turc. in all its innnodulated austeritv.
Wliile the sculj)t()r would naturallv have such
fadors as scale, massiveness and texture to con-
sicler in a space given over to him. and while the
ardiitec t would, in tiie siniplest lerms. have to
proxide Space for the sculpture and take into ac-
couiU the stvie of the sculptor wliose work he
was (onnnissioning i^or eveii l)u\ing out of the
studio), neilher sliould he asked to suirender a
particie of the characler of his woik. 1 he hene-
jits to hoth would he enoriiious: sculpture woidd
he given a chance to operate in an atniosphere
Iroin whicli it has heen ahsent for vears, and
arcliilectuie would gain an elemenl that wotild
\itali/e its impeisonal fiuic tionalisin and give it
an added diinension.
Aller it is admitted that inan\ sculptors are
not inteiested in nor iitted for the arc hitectnral
Situation, it is not the sculptor, hut the architect
who neecls to he convinced in this disciission. He
shoiild reali/e first of all that the sculptor is not
his antagonist— willful. lacking in taste. inca|)ahle
of iindeistanding aichitectuial necessities. The
phvsical part of sculpture is nothing if not archi-
tectural; and the sculptor is not a scidptor if he
is not sensitive to cjnestions of mass. material,
smface, halance, density, distance— cpiestions
whicli architects too often feel thev alone arc
(pialiliecl to deal with. And architects sliould re-
meiiiher that if sculptors can inake sculpture for
the iio-placc or any-place that is the conlempo-
rarv nurseum, gallery or honie of an nnknown
pnrcliascr, then they shonlcl have little trouhlc
inaking it for the known place that an archi-
tectinal setting provides.
Biit in principle therc is here not necessarily
a (piestion of inaking sculpture for a place, hut
siniplv of effectiiig a confrontation of sctdptnrc
and arc hitectuie. If the sculptor is tree to cx-
press hiniself as he wishes the architect is free to
choose the kind of voice that would l)c of most
intercst to his project. His customarv raising of
no voice hiit his own results in a prolonged and
tiring single note. If to his own he adds the
voiccs of our sculptors. he can create a harmony
that will he new. heautifui and nnpredic tahly
stiniulating.
SKOWHEGAN
SCHOOL OF PAINTING & SCULPTURE
Faculty
HENRY VARNUM POOR
SIGMUND MENKES
GEORGE GROSZ
ANNE POOR
SIDNEY SIMON
HAROLD TOVISH
Visiiing Artists
ISABEL BISHOP
GARDNER COX
REED KAY
SEYMOUR LIPTON
AGNES MONGAN
MAX WEBER
WILLIAM ZORACH
July — August
Write for free Booklet ''IT'
SKOWHEGAN, MAINE
ART STUDENTS
LEAGUE OF N. Y.
announces its Summer Schools in
Woodstock, N. y. and New York City
June 3 to August 20, 1957
Instructors in Woodstock
Arnold Blonch
Edward Chavez (July only)
Zygmunt Menkes (August only)
Frank J. Reilly
Instructors in New York
Charles Aiston Morris Kontor
Richard ßove i Bernard Klonis
Dagmar Freuchen \ Frank J. Reilly
drawing/painting
illustration/anatomy
fashion illustration/landscape
Füll or Part-Time Registration
Write or phone for free catalogue
Stewart Klonis, Director
215 W. 57th St., N. Y. C. CIrcle 7-4510
STUDY IN
CALIFORNIA
PASADENA
SCHOOL OF FINE ARTS
Send for prospectus no^r
Frod« N. Dann, Director
314 SOUTH MENTOR AVENUE, PASADENA 5, CAlIf
6-/
ARTS u.n /'>57
PcUnt and ße tpffofifuf
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July 1-August 9
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116 N. BROAD ST., PHILADELPHIA 2, PA.
WHERE TO SHOW
NATIONAL
HYANNIS, MASSACHUSETTS
iWVV. COD ARl ASSOCIMION SlIMMFR I XIIIIW IIONS.
I) Mcmhcrs' Opcii Sliou. func 4 20; work diic
May 31, junc I. 2) jiiiv Show, julv 2-.'U; work
(hu- JnMc 27, 2H. 'S) Jnrv Show. Aii^^. (i-30: work
(lue AiijT. 1,2. 1) F.vcryiiians Show, Sept. -VOd.
2; work diic \\\^. 30. 31. All iiudia, iiKlu(liii<'
sciilplme. riizcs. Memlu rshi[) fcc: $4. Wrilc:
Cape C(hI Alt .Assn.. Iio\ S31, Hyaniiis. .Mass.
NEWPORT, RHODE ISLAND
4()rii WNUAi I xiirumoN. Ai l Association of New
porl. julv 3 2S. Open to li\in<; American artists.
Nfediii: oil, walereolor, prints. sniall s(uli)ture.
fury. Fee: .'iji2 (for non inenihers). Kntrv cards
(lue jiuie S, work (lue june 17. \\ rite: Art Assn
of Newport. li\ Bellevue .\vc., Newport, R. T.
NEW YORK, NEW YORK
AKrisis ^^()\^.^lOlIs 3ui) (HARTriuv, Adam Ahah
Gallerv, J«mc f» 28. All painting media (no largc
paintings). jurv. Awards: 3 man and nrroup shows.
Fee: .Ifl, S2 or .53 arcording to size of work. AVork
(lue Iv Nfav 17. Write: Xdani Ahai) Gallerv. 72
Thompson St., New York 12. N. Y.
NEW YORK, NEW YORK
iioni.i.v ANNiiAf. nuAwiNc r.oMiM riTioN, Uodlev
Gallerv. Junc 17 29. Oi)en (o all artists. ^^edia:
hlack and -white in ink. peiu il or charco.d. Jury.
Prizcs. Fee: S3 per entrv: limil of 3 entries per
nrtist. Wriic: Rodley Galleiy. 223 F. GOtli St.,
New York 22. N. Y.
OGUNQUIT, MAINE
37iii ANNHAi, FXiuiniioN, OgiuKiuit Art Center,
fime 30 .Sept. 2. Open to professional artists.
^^(■(lia: oil :md watercolor. No jnrv. Pri/es. Fee:
.1!;iO. Work (lue hv June 0, ^Vrite: N. Vavana.
Ogiui(|iMt An r-nler. IfoMs l,;ine. Oguntpiit . \\v.
SARANAC LAKE, NEW YORK
ADiKONHArK A\N( AI . Dorotliv Yepe/ C;:dleries.
Julv 1 20. Open to all arlisis. Nfedia: oil. water-
color. pnslcl. scidpture. Fee: S3. Jurv. Pri/es.
Fntrv rards dnc hv June I. work duc Jinie 21.
Write: Dorothv Yepez (;alleries, TTappv Afanor.
Bloom injrdale Road. Saranae Fake. N. Y.
YOUNGSTOWN, OHIO
mrii.r.R in.stitutf. of amiritan Aicr 22m> anniai.
MinvFAR .SHOW, July 1-Sept. 2. Open to all art
ists in llic U. S. and terrilories. Nfedia: oil and
watercolor. Fntrv fee. Judizes: IIoncI Goodrich,
William Tlion. Over .'Sr),000 in pri/cN. ^\'ork (lue
hv |«me 2. ^\'rile: Secretarv. Huller Inslitule of
American Art. Youngstown 2. Ohio.
REGIONAL
ATHENS, OHIO
MiH omc) vAM.rv ou and waifrcoiou rxinitt-
TiON, Ohio llniversitv College of Fine Arls. Jidv
1-31. Fntry cards diie hv June 1. ^Vrile: Fredrr
ick D. T.eacli. Director, School of Painting and
Allicd Arts. Ohio rni\ersitv, Athens. Ohio.
CLINTON, NEW JERSEY
4iii STAiF-wmF ixtnnniON. TTunlerdon Coinilv
Art Center. June 2 30. Open to all N. J. artisis.
Nfedia: oil. watercolor. sculpture. Jurv. Pri/es.
\\V)rk (lue >rav 21. Write: llunlerdon GouiUv
Art Center. Clinton. N. J.
DETROIT, MICHIGAN .
11 MI WM'M. Michigan Watercolor .Societv, June
2-22. Open to all native and resident Michigan
watercolorisis. Jurv. Fee. Five SIOO pri/es plus
olher :iwnr(ls. F.ntrv cards due Mav II. work duc
Mav 18. ^^'ri^e: Trene Miakinin. 8210 Hart well,
Helroii 2S. Muh.
NEW CANAAN, CONNECTICUT
Sm WM AI \r\\ I \(.i AM) ixniiurioN. Silvermme
Guild of Artists. |iuie 0-Julv 10. Open to artists
hoin or resident in New Fngland states, N. Y.,
N. |. and Pa. Media: oil. water(()lor. casein.
sculpture. |inv. Approx. SFOOO in pri/es. AVork
due Mas 1(1-12. \Vrite: Revington Arthur. Silver-
mine Guild of \rtists. Norwalk. Coiui.
65
TM
THIS SUMMER
studv al
PENN STATE
Course^ in <>il and water rolor
pairitin;;, mural painting, art his-
tory and appreciation, eraft*^,
grapliie-, and the teadung of art
linder >ueh speeialists a>:
KEN.NKTir R. Hfittkl
YaR (i. CnoMirKY
Hafu)!.!) K. Dickson
Syhil D. Kmkkson
Jt LH s Hkllkh
ViKIOtJ FoWKNFKLD
l^DWAIH) L. \IaTTIL
l^M I. F. NOHTON
HolJSON 1^ ITT MAN
AnDMKK Kl KLI.AN
.|()HN TaYLOH
Win.ston K. Wkismw
jor huUftin injormntinn (td(brfss:
i)ea.i (»f thr Sunnner Sessions
ENNSYLVAMA STATE
l N I V E R S I T Y
ersitv Park, l'ennsvlvania
25th ANNIVERSARY SESSION
University of Alberto
BANFF SCHOOL OF FINE ARTS
June 17th to September 7th, 1957
Painting, Music, Piano, Choral, Strings, Compo-
sition, Singing, Drama, Ballet, Weaving, Cerom-
ics, Interior Decoration, Television— Radio &
Playwriting, Short Story, Oral French and Pho-
tography.
for Calendar write:
Director, BonflF School of Fine Arts
BanfF, Alberto
College Level 4- Year Courses
Inferior Design, Commerciol Design, Painting,
Illustration, Graphic Arts, Product Design,
Sculpture, and Liberal Arts. Scholarships.
Degrees. 13-acre campus. Dormitories. Many
famous graduates. (Also Summer Sessions)
KANSAS CITY ART INSTITUTE
& SCHOOL OF DESIGN
4415 -W Worwick, KansasCity, Missouri
CHAUTAUQUA ART CENTER
REVINGTON ARTHUR
CIL and WATERCOLOR
Syracttse I nivt-rsity (redits • Summrr Sports
Symphony itrchrstra • imatrurs Invited
July and .4usu«t • For Tatalog )X rite
Mrs. RUTH SKINNER, Secy., Chautauquo, N. Y.
COLORADO SPRINGS
FINE ARTS CENTER
lAincicccp ART TEACHING METHODS
WUtLM-tK ^^^ HISTORY-CONTEMPORARY
SABEAN DESIGN
CHENOWETH g«*WlN<|
GRALAPP JEWELRY
SUMMER DAXES !.'^"^l"19
JUNE 17.AUG 9 SCULPTURE
Registrar: 30 W. Dole, Colorado Springs, Colo.
WORKSHOP INSTRUCTION IN
ETCHING • ENGRAVING
UTHOGRAPHY • WOODCUT
Füll professional equipment. Expert
guidance. Continuous open registration.
SPECIAL SUMMER PROGRAM
LOWENGRUND • FRASCONI • ROGALSKI
Write for detaiied Information to:
Pratt — Conte mpora r i es
GRAPHIC ART CENTRE
1343Third Ave.
New York 21
BOSTON UNIVERSITY
SCHOOL OF FINE & APPLIED ARTS
Robert A. Choate, Dean
Professional Training With a Streng Liberal
Arts Background Towards BFA and MFA Degree
DRAWING • PAINTING • ILLUSTRATION
INTERIOR DESIGN • ART TEACHER TRAINING
• ADVERTISING DESIGN •
WRITE FOR CATALOG
Dovid Aronson, Chairman, Division of Art
29 GARRISON ST., BOSTON 16, MASSACHUSETTS
jt. HARTFORD ART SCHOOL
painting • graphic arts
sculpture * advertising arf
Diploma and B.F.A. Degree
25 ATHEN£UM SQUARE NORTH
HARTFORD 3> CONNECTICUT
NORTON
GALLERY AND
SCHOOL OF ART
WEST PALM BEACH, FLA.
Classes for adults & children
for advanced students & beginners
Prosp*cfus on requetf
Headquarters
Genuine Dry Pigments for
Artists Colors
COBALT BLUES
COBALT GREENS
COBALT VIOLETS
CERULEAN BLUES
GENUINE AUREOLINE
EMERALD GREENS
EMERAUDE GREENS
CADMIUM YELLOWS
CADMIUM REDS
ULTRAMARINES
VERMILIONS
UMBERS
SIENNAS
OXIDES ETC.
Founded 1854 —
Fezandie i^ Sperrle, Inc.
205 Fulton Street New York City
5^:^^^^^
liWrjimmrf
CARVING TOOLS
HOBBYCRAfT StTS
IMPORT» FRO« ""j^fJ'LiMTooUinS.roigW,
Comple-eUneoU ,«K Gog»^^^^^^^^ 0,e. 30,000
Uno Bend, Spoon, Bmk Ben» » ^ ,„„j i„«
f RANK mimm (b,^y..") j,VJUTs::i"
I
the manikin fhat can da
everyfhing
LACAMO BLOCK MANIKIN
14' high, accurately scaied, scientifi-
cally designed, mode of wood, var-
nished. Complete ^ith stand.
Instruction bock on Manikin Art
Anatomy.
Both for $4.95 postpaid
RIEBE CORP., 149 E. 60 St., N.Y.C.
SUMMER PRINT CALENDAR
For (nnil>lrl(' itifoniuitioti write to Ihr l'rhit
('.oufHil of Anu)i((i, ^^27 Mtidison Ax'innc, Jioom
>//. \ru' York 22. \. 1.
AKRON, OHIO
ART INSTITUTE, Apr. 30-June 2: Annual Moy Show;
July 6-28: Ohio Printmakers Annual
ALBANY, NEW YORK
PRINT CLUB, Moy 1-30: G. E. Cook, lithos.
CAMBRIDGE, MASS.
FOGG ART MUSEUM, May 20-June 22: Gray col.
CHATTANOOGA, TENN.
HUNTER COLLEGE, July 9-29: Kirchner & Neide
CINCINNATI, OHIO
ART MUSEUM, Moy 4-29: Annual Ohio Printmakers
Exhib.; June 5-Sept. 25: R. Blum
CLEVELAND, OHIO
ART INSTITUTE BLDG., May 15-June 23: May Show
COLUMBUS, OHIO
GALLERY OF FINE ARTS, Summer: G. Bellows
HARTFORD, CONN.
WADSWORTH ATHENEUM, Mar. 20 June 1: Recent
Acq. Prnts.; Apr. 5-June 9: Daumier lithos.
HONOLULU, T. H.
ACADEMY OF ARTS, May 2-June 2: Honolulu Print
Mkrs.; June 4-July 14: Chinese Woodblocks
KANSAS CITY, MISSOURI
ATKINS MUSEUM, May 2-June 2: Mid-Amer.
KENNEBUNKPORT, MAINE
BRICK STORE, May 26-June 30: N. Shore Prnts.
LAGUNA BEACH, CALIFORNIA
ART ASSOC, May 8-28: Print Mkrs. Soc. of Cal.
LAWRENCEVILLE, NEW JERSEY
LAWRENCEVILLE SCHOOL, May 6-27: Cat Prints
LONG BEACH, CALIFORNIA
ART CENTER, June 2 July 20: K. Adams, lithos.;
July 31-Aug. 31: H, Wolf, wood engrvngs.
LOS ANGELES, CALIFORNIA
L. A. COUNTY LIBRARY, May 1-July: Print Mkers.
Soc. of Cal.
LOUISVILLE, KENTUCKY
SPEED MUSEUM, May 1-22: G. Bellows; Moy 13-June
3: Motisse; June 3-24: Kirchner & Noide; July 1-31:
Cont. Brazil.
MINNEAPOLIS, MINN.
UNIVERSITY GALLERY, Apr. 8-May 31: Etchngs.;
June 5-July 5: H. Sternberg, prnts.
WALKER GALLERY, June 28-Aug 9: Matisse
NEW YORK CITY
INTERNATIONAL GRAPHIC ART SOC. (65 W. 56),
May 1-Aug.: Internati. Contemp.
MELTZER GALLERY (38 W. 57), May 21 June 17:
Nat'l Serigraph Soc.
MUSEUM OF CITY OF NEW YORK, Apr. 24-Sept.
3: Currier & Ives
N. Y. PUBLIC LIBRARY, (5th Ave. & 42nd St.), oll
Summer: "Birds & Beasts," prnts.
WEYHE GALLERY (794 Lex. Ave.), May: J. Fried-
laender, etchngs.
OKLAHOMA CITY, OKLA.
ART CENTER, June 9-30: "Jap. Woodcuts 11"
PENSACOLA, FLORIDA
ART CENTER, July 14-Sept. 15: "Amer. Printmakers"
PHILADELPHIA, PA.
PRINT CLUB, May: Bay Printmakers of Col.
MUSEUM OF ART, May 20-Aug. 31: Expressionist
PITTSBURGH, PA.
CARNEGIE INSTITUTE, Apr. 1-May 12: M. Cassott,
prnts.; Moy 13-Sept. 29: Three Scipt.-Prntmkers.
ROCHESTER, NEW YORK
RUNDEL GALLERY, May 5-26: "Jap Woodcuts I"
ROSWELL, NEW MEXICO
MUSEUM, June 9-30: "Contemp. Ger. Prnts."
SAN DIEGO, CALIFORNIA
FINE ART GALLERY, June 5-23: Contemp. Fr. Prnts.
SAN FRANCISCO, CALIFORNIA
LEGION OF HONOR: June 8-July 7: Ger. Impres-
sionism; July 13-Aug. 11: W. Hollar; Aug. 17-
Sept. 15: "Our Daily Bread"
DE YOUNG MUSEUM
\ May 5-26: / "Jap. Fish Prn^s."; July 1-Sept. 15:
} June 9-30: \ "Contemp. Ger. Prints."
R. E. LEWIS, INC. (555 Sutter St.), May 6-25: Villon;
June 3-29: Kollwitz; July 1-27: Hokusai
MUSEUM OF ART, Aug. 15-Sept. 15: Cont. Brazil.
SANTA FE, NEW MEXICO
N. M. MUSEUM, Aug. 18-Sept. 30: Open-Door Exhib.
SPRINGFIELD, MASS.
SMITH, Apr. 16-May 15: Amer. Print Soc. Annual
ST. LOUIS, MISSOURI
CITY ART MUSEUM, May 1-15: Flowers, Plants,
Seasons; June 1-July 31: H. Siegl, L. Pierce
WASHINGTON, D. C.
LIB. OF CONGRESS, Moy 1-Aug. 31: Nat'l. Exhib.
WEST PALM BEACH, FLORIDA
NORTON, July 1-31: Palm Beoch Art Leog.
WICHITA, KANSAS
ART MUSEUM, May 1-Aug. 31: Perm. Coli.
WORCESTER, MASS.
ART MUSEUM, Moy 20-June 17: Toulouse-Lautrec
MASTER TOOLS
For
ARTIST & CRAFTSMAN
WILLIAM MITCHELL PENS & HOLDERS
In Complete, Unequollcd Range
KING'S OWN DRAWING PENCILS
17 Degrees Graphite; 12 Colours
DERWENT SERIES, With Guaranteed
Accurocy in Repetition of Shades
Fiat LAYOUT PENCILS in 24 Colours
Round, Thick-Lead PENCILS in 72
Colours
Rectangular BLOCKS in Matching 72
Colours
And Perry's NEW
Internationally Acciaimed
Osmmnd 6f Ovwntam CPm
(n mteirhameahle nihs)
speüßUu desimcdßir
C(illmmbJuc writim^
At Leading Dealers — Or Write
\PYanccs M'MooYC Company
Carnegie Hall, New York 19, N.Y.
Sole Distributor, U.S.A.
U(Ia^SM(i^1^ dm. ^(i '
A.I.FRIEDMAN INC.
"Friem's Four Pages" our regularly published
art newsletter sent free . . . on request.
DEPT
CAN VAS SÄLE
X 6 yd. Duck $ 6.95
X 6 yd. " 8.75
X 6 yd. " 14.95
X 6 yd. Linen 9.95
X 6 yd. " 16.95
X 1 1 yd. " 55.00 S
No C.O.D.'s Price F.O.B., New York
Please allo^^ for postage
NEW YORK CENTRAL SUPPLY CO.;|
62 Third Ave. (near 11 th St.) New York 3, N. Y. S
45"
52'
72"
45"
54"
84"
J^
CALENDAR OF EXHIBITIONS
ATHENS, GA.
MUSEUM, May 5-26: Amer. Arch.
BALTIMORE, MD.
MUSEUM, to May 26: Baltimore
W'cols.; May 3-24: Landscape
Architecture
BELOIT, WISC.
SCHERMERHORN, to Moy 31: R.
Marx, C. Fitz-Gerald
BOSTON, MASS.
DOLL & RICHARDS, May 6-18: M.
Fan Tchun Pi
MUSEUM, to May 28: New Eng.
Miniatures
CHICAGO, ILL.
ART INST., to June 16: Ray Wielgus
African Coli.; May 8-June 9: Cont.
Amer. Art Soc. Annual; Prizewin-
ners Annual
DENVER, COLO.
MUSEUM, to May 12: Pacific Arts; to
May 19: Conquest of Space
HARTFORD, CONN.
WADSWORTH ATHENEUM, May 4-
June 9: Conn. W'col. Soc.
INDIANAPOLIS, IND.
HERRON MUS., to May 19: Design in
Scandinavia
KANSAS CITY, MO.
NELSON, May 2-June 2: Mid-Amer-
ica Annual
LONDON, ENG.
GIMPEL FILS, Cont. Brit.
HANOVER, May 2-June 14: R. Butler
LEFEVRE, May 1-June 1: E. Burra
TOOTH, to May 25: B. Büffet
LOS ANGELES, CAL.
FERUS, May 10-June 7: H. Levy
HATFIELD, May: Mod. Fr. & Amer.
STENDAHL, May: Pre-Col. & Mod.
LOUISVILLE, KY.
SPEED MUS., May 6-27: Cont. Dutch
MEMPHIS, TENN.
BROOKS, May 5-26: Sargent W'cols.
MILWAUKEE, WIS.
ART INST., May 2-31: Wis. Annual
MINNEAPOLIS, MINN.
INST., to May 12: L. Feininger; to
June 2: Scipt.; May 8-June 2:
Peterdi
WALKER, to May 20: S. Davis; May
26-June 23: Cont. Brit.
MONTCLAIR, N. J.
MUSEUM, May 5-26: N. J. Artists
NEW BRUNSWICK, N. J.
STUDIO GALLERY, to May 18: C.
Carter
NEWARK, N. J.
MUSEUM, to May 19: Eorly N.J.
Artists; to June 16: Art in Judaism
NEW YORK, N. Y.
tA\»sevn\s;
BROOKLYN (Eastern Pkwy.), to May
26: W'cols.
COOPER UNION MUS. (Cooper Sq.),
May 23-Aug.: 6 Decades Collection
GUGGENHEIM (7 E. 72), to May 19:
Internat'l. Award Ptgs.
JEWISH (5th at 92nd), from Moy 16:
Strouss-Rothschild Collection
METROPOLITAN (5th at 82nd), to
Sept.: Greek Vases, Heorst Coli.;
from Apr. 26: Rodin & Fr. ScIpt.
MODERN (11 W. 53), to Moy 12:
New Talent X; from Moy 22: Pi-
casso
PRIMITIVE ART (15 W. 54), May:
Selections from Perm. Coli.
NAT'L ACAD. (1083 5th), May 9-26:
Nat'l. Assoc. Women Artists
RIVERSIDE (310 Riv. Dr.), to May
19: Soc. Young Amer. Artists
WHITNEY (22 W. 54), to June 16:
H. Hofmann retrospective
Gaf/eries:
A.A.A. (712 5th at 5S), May 6-June 1:
Points of View '57
k.Z.fK. (63 E. 57), to May 11:
W. Gropper; May 13-25: S. Dreyfus
ADAM-AHAB (72 Thompson, Tu., Th.,
12-2, 8-10), Artists Anon. 2nd
Quart.
ALAN (32 E. 65), May 7-25: J.
Levine
AMER. SCANDINAVIAN FNDTN. (127
E. 73), May 13-25: R. L. Sandberg-
Johansson
ARGENT (236 E. 60), May 13-June 1:
Swiss Women, w'cols., grophics
ARTISTS' (851 Lex. at 64), May 11-
30: M. Greenfield
ARTS (62 W. 56), May 2-16: Di Paolo;
Sugimoto; Wolowen
BABCOCK (805 Mod. at 68), May 6-
29: I. Marantz
BARONE (1018 Mad. at 79), to May
11: D. Carrick, C. Shelton; from
May 13: ScIpt. Garden
BARZANSKY (1071 Mad. at 81), May
6-18: G. Lipson
BODLEY (223 E. 60), to May 11: R.
Brown; May 13-25: L. Weaver
BORGENICHT (1018 Mad. at 79), to
May 18: Santomaso; May 20-June
15: J. Ernst
BURR (108 W. 56), May 5-18: W. B.
Sherman; May 19-June 1: Grp.
CADAN (150 E. 78), May 9-30: Abi-
dine
CAMINO (92 E. 10), May 10-31:
ScIpt.
CARLEBACH (937 3rd et 56), Primi-
tive Art
CARSTAIRS (11 E. 57), May 7-29:
Grp.
CASTELLI (4 E. 77), May 6-25: Spring
Show
CHASE (29 E. 64), May 6-18: A. King;
May 20-June 8: W. Meyerowitz
COLLECTORS' (49 W. 53), to Moy 19:
Coignard; May 20-June 2: J. Gut-
man
COMERFORD {55 E. 55), May: Japa-
nese prints & w'cols.
CONTEMPORARY ARTS (802 Lex. at
62), May 13-31: S. J. Davis, scIpt.
CRESPI (232 E. 58), to May 4: C.
Petrina
D'ARCY (19 E. 76), May 1-31: TiatiIco
to Maya
DAVIS (231 E. 60), to Moy 31: Inti-
mate Private Coli.
DE AENLLE (59 W. 53), to May 25:
Echave
DELACORTE (822 Mad. at 69), to
May 11: Peruvian Textiles, Pottery
DE NAGY (24 E. 67), to May 11:
P. Georges; May 15-June 1: Por-
traits by Ptrs.
DOWNTOWN (32 E. 51), to May 25:
Grp.
DURLACHER (11 E. 57), to May 18:
G. Russell
DUVEEN-GRAHAM (1014 Mad. at
79), to Moy 18: D. Hood; Moy 7-
25: L Robins
EGGLESTON (969 Mad. at 76), May
6-25: C. Kibel
EMMERICH (18 E. 77), May 1-31:
Pre-Col.
ESTE (32 E. 65), May 1-16: S.
Schames
FEIGL (601 Mad. at 57), May 1-June
15: Cont. Amer. & Eur.
FINE ARTS ASSOC. (41 E. 57), May
13-June 7: Cont. Ptg. & ScIpt.
FLEISCHMAN (227 E. 10), to May 20:
J. Stanley
FRIED (40 E. 68), to May 11: J.
Xceron; Moy 1 1-June 8: Grp.
FURMAN (17 E. 82), to June 25: Pre-
Col.
G. GALLERY (200 E. 59), from May
7: Grp.
GALERIE BOISSEVAIN (31 E. 63), to
May 4: J. Vardo; May 7-28: A.
Sims, scIpt.
GALERIE CHALETTE (1100 Mad.), to
Moy 25: A. Deroin
GALERIE ST. ETIENNE (46 W. 57),
May 6-June 4: Grandma Moses
GALLERY 75 (30 E. 75), to May 31:
L. Fini
GRAHAM (1014 Mad. at 78), Moy:
J. Clark, Animal Bronzes
GRAND CENTRAL (15 Vand. at 42),
to Moy 11: D. Boise; Moy 7-17:
F. Whitaker; E. Monaghon; May
20-31: R. Delano
GRAND CENTRAL MODERNS (1018
Mod. at 79), to Moy 17: A. Osver;
Moy 21-June 14: H. Hensel
HAMMER (51 E. 57), May 1-14: Loch-
mon
HANSA (210 Cent. Pk. So.), Moy 6-
25: G. Segol
HARTERT (22 E. 58), May 1-31:
Amer. & Fr. Ptg.
HELLER (63 E. 57), To Moy 18: Grp.;
May 21-June 8: Scolini; Christiane
HEWITT (29 E. 65), to Moy 18: E.
Nadelman; May 20-June 15: Grp.
HIRSCHL & ADLER (21 E. 67), Fine
Ptgs.
lOLAS (123 E. 55), Apr. 17-May 17:
M. Ernst
JACKSON (32 E. 69), Moy 7.June
14: Europ. & Amer. Drwgs,; May
14-June 14: M. Hartley
JAMES (70 E. 12), to Moy 16: R.
Fasanella; May 17-June 6: N. Bill-
myer, V. Schnell
JANIS (15 E. 57), to May 11:
Brancusi to Giacometti; May 13-
June 8: Motherwell
JUSTER (154 E. 79), to Moy 25: A.
Clave; E. Greco
KENNEDY (785 5th at 59), May: A.
Jonnioux
KLEEMANN (11 E. 68), to May 25:
H. Joenisch
KNOEDLER (14 E. 57), May 7-25:
Cont. ScIpt. & W'cols.
KOOTZ (1018 Mad. at 79), Moy 6-
June 14: Rec. Fr. Acq.
KOTTLER (3 E. 65), to May 11: 3-Man;
M. Koven; Moy 13-25: P. Steiger-
wald
KRAUSHAAR (1055 Mad. at 80), to
May 11: J. Heliker; Moy 20-June
7: Pointer-Printmokers
LIBR. OF PTGS. (28 E. 72), to Moy
23: 3-Man
LILLIPUT (231V2 Eliz., by App't.),
May: Adam-Ahab Vorionts
LITTLE STUDIO (673 Mod. at 61), May
1-15: A. Jegart
LOWER EASTSIDE NEIGHBORHOOD
ASSOC. (St. Marks, 2nd Ave. at
10), to May 26: Annual
MARCH (95 E. 10): Grp.
MELTZER (38 W. 57), to May 18: 5-
Man Grp.
MI CHOU (36 W. 56), May 13-June
15: Hua Li, w'cols.
MIDTOWN (17 E. 57), May 7-June
8: 25th Anniv. Show
MILCH {55 E. 57), to May 4: J. Whorf
MORRIS (174 Waverly PI.), May 8-
25: C. Lossiter
NEW (601 Mod. at 57), May 1-31:
19th C. Fr. Drwgs., W'cols.
NEW ART CTR. (1193 Lex. at 81),
Moy 7-25: Die Brücke
NEWHOUSE (15 E. 57), May: 18th
C. Eng., Fr.; Old Masters
PANORAS (62 W. 56), to May 11:
E. B. Webster; May 13-25: F. Smik;
Moy 27-June 8: J. Goodman, drwg.
PARMA (1111 Lex. at 77), May 2-
21: L. Sterne
PARSONS (15 E. 57), to May 1 1 : M.
Taylor, scIpt.; D. Sturm; Moy 13-
June 1: M. Morgan; S. Sekula
PASSEDOIT (121 E. 57), to May 18:
J. M. Hanson; May 22-June 15: W.
Crovello
PERIDOT (820 Mad. ot 68), to May
25: C. Cicero
PERLS (1016 Mad. at 78), to May 31:
Pascin & Schi, of Paris
PETITE (129 W. 56), May 6-18: M.
Frory; Moy 20-June 1: Grp.
PIETRANTONIO (26 E. 84), May 1-
15: A. Ceruzzi, M. Hollinger
POINDEXTER (21 W. 56), to May 7:
Stefanelli; Moy 13-June 1: D. von
Schlegell
REHN (683 5th ot 54), to May 18:
R. Mintz
ROERICH (319 W. 107), to May 26:
C. Schwebel
ROKO (925 Mad. at 74), to May 23:
J. Bageris
ROSENBERG (20 E. 79), Moy: 19th &
20th C. Fr., 20th C. Amer. Ptgs. &
ScIpt.
SAGITTARIUS (46 E. 57), to May 13:
Beldy; Moy 15-31: Vespignani
SAIDENBERG (10 E. 77), to May 4:
L. Chadwick; from May 13: Homoge
to Kahnweiler
SALPETER (42 E. 57), to Moy 1 1 : S.
Farber; Moy 13-31: N. Davis
SCHAEFFER (983 Park), Old Masters
B. SCHAEFER (32 E. 57), May 6-25:
W. Kamys
SCHONEMAN (63 E. 57), to May 16:
Rouault; E. Weill, scIpt.
SEGY (708 Lex. at 57), to Moy 15:
Abstr. Forms m Afr. Art
SELIGMANN (5. E. 57), May 6-24: R.
Florsheim
SILBERMAN (1014 Mad. at 78), Old
Masters
STABLE (924 7th at 58), to May 4:
J. Tworkov; May 7-June 1: Annual
SUDAMERICANA (866 Lex. ot 65),
to May 18: M. Tarragona; May 20-
June 8: Latin Amer. Grp.
TANAGER (90 E. 10), to May 9: 3-
Mon; May 10-31: Grp.
TERRAIN (20 W. 16), May: Black &
White
THEATRE EAST (211 E. 60), to May
28: J. Rigaud
THE CONTEMPORARIES (992 Mad.
ot 77), to May 11: Amer. Abstract;
Moy 13-31: D. S. Badue
TOZZI (32 E. 57), Med. & Ren. Art
VAN DIEMEN-LILIENFELD (21 E. 57),
to May 21: M. Padua
VIVIANO (42 E. 57), to May 11:
Corlyle Brown; May 13-June 15:
Mirko
WALKER (117 E. 57), May: 19th, 20th
C. Amer. & Fr.
V. WEAR (436 Mad.), May 9-31: E.
Vondyke
WELLONS (17 E. 64), May 6-18: V.
Glinsky; May 20-June 1: P. Cohen
WEYHE (794 Lex. ot 61), May 1-31:
J. Friedlaender
WHITE (42 E. 57), bKo>i 7-June 1:
Grp.
WIDDIFIELD (818 Mad. at 68), to
Moy 18: Pre-Col.
WILDENSTEIN (19 E. 64), to May 18:
M. Gold; to May 1 1 : L. Quintanilla
WILLARD (23 W. 56), May 7-31: D.
Dehner
WITTENBORN (1018 Mad. at 79),
to May 18: B. Childs; May 20-June
1: R. Loubies
WORLD HOUSE (987 Mad. at 77), to
May 18: Manzu
ZABRISKIE (835 Mod. at 69), to May
18: J. Sennhauser
PARIS, FRANCE
ALLENDY, to May 11: Baillargeau
BERNHEIM, May 10-25: Moualla,
Suraud
BUCHER, May: Reichel
CORDIER, May: Requichot
DE FRANCE, Zao-Wou-Ki
DROUET, May 7-25: Despierre
FRICKER, May 10-31: R. Lersy
PIERRE, to May 14: B. Dufour; May 16-
June 1 : Macris
RENE, May: Grp.
SUILLEROT, Hayden
PHILADELPHIA, PA.
PA. ACAD., May 16-June 9: Com-
petition Works
ART ALLIANCE, May 7-June 9:
Tamuyo; A. Redein; May 16-June
9: Realist Ptrs.; May 17-June 9:
Philo. ScIpt. Trends
MACK, Moy: S. Spaulding
SCHURZ MEM., to May 31: E. Kauf-
mon
PITTSBURGH, PA.
CARNEGIE INST., to May 12: M.
Cossatt prints; to May 19: G. M.
Koren
ROSWELL, N. M.
MUSEUM, May 12-27: L. Nickson
ST. LOUIS, MO.
MUSEUM, May 3-27: Wosh. Univ.
Exhib.; Moy 5-26: Lesueur
SAN FRANCISCO, CAL.
LEGION OF HONOR, May: Pierpont
Morgan Library Treasures
MUSEUM, to May 26: T. Roszak
SEATTLE, WASH.
SELIGMAN, May: M. Tobey, P. Boni-
fos
TAOS, N. M.
LA GALERIA ESCONDIDA, Moy: Grp.
WASHINGTON, D. C.
CORCORAN, to Moy 26: Amer. Stoge
DICKEY, Moy 6-22: M. Bonkemeyer
NAT L. GALLERY, 20th C. Fr., Dole
Coli.
WORCESTER, MASS.
MUSEUM, May: African Art
66
ARTS/A^/v i'^'^l
•tCi
ancient man
discovered tfie secret
off
in
iwi^c^^^
v^^*
•^-^c*^
"^Ä.
Prehistoric Cow from the Cave of Lascaux
/tK^-4t-^ .'*"* 5
but Shiva
was the first
io stabil Ize It
es»**.
r^' j^
The ancient artist and the primitive painters utilized the binding quahties of
casein for their pigments but Shiva was the first to stabilize these qualities in
a tube so that Casein Colors retain their binding characteristics indefinitely
• It was Ramon Shiva who developed these Casein Colors for Chicago's
Century of Progress in 1933. Since that time, artlsts have been able to obtain
this mcst complete line of brilhant permanent Casein Colors and to use their
unique characteristics to revolutionize modern techniques in painting.
SHIVA
artist's colors
433 West Goethe Street, Chicago 10, Illinois
SHIVA a/ways originates...WATCH ! others will Imitate
^
IARG£
TU6E
to4
confrolled drying Hme . . .
und ccntrolieä textures
M. O. WHfTS h what tttihH hove alwttyt dretimec* of — t|vlck
dryli»9r «bsolqtely sttfe, whtt^ oil color for mixin^, unrferpaint^
Itt^t dtred pdltitiri^ or hedvy impdsto.
M. 6. WHiTß fefs yoi/ tonfrol »he d[ryin9 time — $iVfe$ y<!>u ttny
textMfe you <fe$fre — regardless of how you öppfy «olor — with
o brushf o knife or direct from fho ttibö.
Yoii QW9 H »0 your$olf , . . bny M. O, WHiTi Moy.
OurCK-DRYiNG TITANIÜM WHITE oil COLOti
Safe . . * ISever^yellotving* . . Permanent
non-shrwelUng. . ^non-cracking
M. GBUMBACBER
482 W. 34th Street, New York h iV. Y.
iiäc*
Ask your dealer for instructive brochure
ir PICASSO RETROSPECTIVE
ic FRENCH SCULPTURE
ON EX HI BIT
ART
SHDWS
M/\Y
1957
35c
f
MAY EXIIIBITIO]\§
^n V (ew Ujom L^it
'i
A. A. A., 712 Fifth Ave. Group, May G-June 1.
A. C. A., 63 E. 57 St. W. Gropper, to May 11 ;
S. Dreyfus, Gallery Group, May 13-25.
ALAN, 32 E. 65 St. J. Lcvinc, May (5-25.
ALLISON, 32 E. 57 St. G. Hellows. May 1-31.
AM ER. ACADEMY OF AKTS AND LETT ERS,
Broadway and 155 St. Works by New Mem-
bers and Award Rocipients, from May 22.
AMER. MUS. OF NAT'L HISTORY, Cen. Park
W. and 79 St. Works by Staff Members.
ARGENT. 236 E. 60 St. Swiss Women, May
13-June 1.
ART STUDENTS LG.. 215 W. 57 St. Student
Concours.
BABCOCK, 805 Madison Ave. I. Marantz, May
6-29.
BARZANSKY, 1071 Madison Ave. G. Lipson.
May (>-18.
BERRY-HILL. 743 Fifth Ave. European and
American Paintinjrs.
BIJRR, 108 W. 56 St. Group, to May 4 ; W. IJ.
Sherman, May 5-18 ; Texas Students, from
May 19.
BROOKLYN MUS. OF ART, Eastern Parkway.
Water Color International, to May 26,
CADAN, 150 E. 78 St. Abidint", May 9-30.
CARSTAIRS, 11 E. 57 St. Group.
CASTELLL 4 E. 77 St. S. Brach, to May 14;
Group, May 6-25.
CHASE, 29 E. 64 St. A. King, May 6-18; W.
Meyerowitz, May 20 - June 8.
CENTRAL SYNAGOGUE COMMUNITY, 35
E. 62 St. Third Annual Members' Show, May
7-20.
COLLECTOR'S, 49 W. 53 St. Coignard, to
May 19; J. Gutman. May 20-June 1.
CONTEMPORARIES, 992 Madison Ave. Amer.
Abstract Artists, to May 11; D. S. Badue,
May 13-31.
D'ARCY, 19 E. 76th St. Pre-Columbian Art.
DEITSCH, 51 E. 73 St. Recent Print Acquisi-
tions, to May 31.
DOWNTOWN, 32 E. 51 St. Group Show of
Drawinus, May 7-31.
DELACORTE, 822 Madison Ave. Ancient
Peruvian, to May 11.
DUVEEN, 18 E. 79 St. Cid Masters.
DUVEEN-GRAHAM, 1014 Madison Ave. C.
Gross, to May 4; D. Hood, to May 18; L.
Robins, May 7-25. H. Solotov, fi'oni May 28.
EGGLESTON, 969 Madison Ave. A. Lenney
to May 4 ; C. Kibcl, May 0-25.
EMMERICH, 18 E. 77 St. Abstract Art Be-
foie Columbus ; Modern PaintluKS.
ESTE, 32 E. 65 St. S. Shames, May 1-16.
FEIGL, 601 Madison Ave. Group to May 15
FINE ARTS ASSOCIATES, 41 E. 57 St. Lans-
koy, to May 4 ; Contemporary Painting and
Sculpture, May 13-June 7.
FRENCH & CO.. 210 E. 57 St. Cid Masters.
FRIED, 40 E. 68 St. Xceron, to May 31
FURMAN, 17 E. 82 St. Pru-Columbian Art.
GALLERY G, 200 E. 59 St. (Jroup.
GALLERY 75, 30 E. 75 St. Leonoi- Fini, to
May 15.
GRAHAM, 1014 Madison Ave. J. L. Clark
Sculpture. '
GRAND CENTRAL, 15 Vanderbilt Ave. R
Philipp, E. O'Hara, to May 4; D. Baise to
May 11; E. and F. Whitaker, May 7-17-' R
Delano, May 20-31.
GRAND CENTRAL MODERNS, 1018 Madison
Ave. A. Osver, to May 17 ; H. Hensel, from
May 21.
GUGGENHEIM MUSEUM, 7 E. 72 St. Inter-
national Award Winners, to May 19.
HAMMER, 51 E. 57 St. H. Lachman, to May
18.
HANSA, 210 Central Park So. J. Follet to
May 5 ; G. So^al, May 7-26.
HARTERT, 22 E. 58 St. Kreuch and American
Paintin^is.
HELLER, 63 E. 57 St. Group, to May 18;
Sealini and Cristiano, May 21-June 8.
HIRSCHE & ADLER, 21 E. 67 St. Modern
Painlinjjfs.
I. B. M., 16 E. 57 St., "Art Benins at 60," May
1-15.
lOLAS, 123 E. 55 St. M. Ernst, to May 17.
JACKSON, 32 E. 69 St. Drawin^'s, from May
7; M. Hartley, from May 14.
JANIS, 15 E. 57 St. Modern Art, to May 11;
R. Motherwell, May 13-June 8,
JUSTER, 154 E. 79 St. (ireco and Clave, to
May 25.
KENNEDY, 785 Fifth Ave. A Jonniaux.
KLEEMANN, 11 E. 68 St. H. Jaeni«ch, to May
31.
KNOEDLER, 14 E. 57 St. Pulitzer Collection.
to May 4; Contemporary Sculpture and
Watercolors, May 7-25 ; Small Fry, from
May 6.
KOTTLER, 3 E. 65 St. 3-Man Show, to May
11; M. Koven, to May 11; P. Stoigerwald,
May 13-25.
KRAUSHAAR. 1055 Madison Ave. J. Heliker,
to May 11; 14 Painter-Printmakers, from
May 20.
LITTLE STUDIO, 673 Madison Ave. A. Jepeit,
May 1-15.
MATISSE, 41 E. 57 St. Modern Paintin^'s and
Sculpture.
MELTZER, 38 W. 57 St. Five Artists, to May
18; Serit>:raph International, from May 21.
METROPOLITAN MUS. OF ART, Fifth Ave.
and 82 St. Säo Paulo Collection. to May 5 ;
Rodin and French Sculpture; Greek Vases ;
T. Tomioka.
MIDTOWN, 17 E. 57 St. 25th Anniversaiy
Exhibition, May 7-June 8.
MI CHOU, 36 W. 56 St. Scrolls, to May 11;
Hua Li, from May 13.
MILCH, 55 E. 57 St. J. Whorf, to May 4 ; Con-
temporary Group, May 6-31,
MUSEUM OF MODERN ART, 11 W. 53 St.
New Talent, to May 12; Picasso Retrospec-
tive, from May 22,
NAT'L ACADEMY, Fifth Ave. and 89 St.
Nat'l. Assoc. of Women Artists, May 9-26.
NAT'L ARTS CLUB, 15 Gramercy Pk. S.
Flowcr l*aintin«^s, to May 13.
NEW YORK UNIV., 80 Washington Sq. East.
L. Manso, to May 7,
NEWHOUSE, 15 E. 57 St. Old Masters.
NIVEAU, 962 Madison Ave. Modern French
Paintings.
N. Y. HISTORICAL SOCIETY, 170 Central
Park W. Colon ial and Federal Homes. New
York City Authors- 3 New York Architects,
from May 15.
(Continued on page 64)
\
M
ROUAULT
LOAN EXHIBITION
To May 15
SCHONEMAN CALLERIES
63 EAST 57th STREET • NEW YORK
[1]
!*4»SS'\
Selection of Bronzes, Bas-Reliefs, and Drauings
April 24 through May 18
WORLD HOUSE
Madison Avenue at 77th Street, New York 21
galleries
[2]
KNOEDLER
Established 1846
SCULPTURE and WATERCOLORS
by
CONTEMPORARY ARTISTS
May 7-25
•
OLD MASTERS
FRENCH IMPRESSIONISTS
CONTEMPORARY PAINTINGS
AMERICAN PAINTINGS
14 EAST 57th STREET
LONDON
NEW YORK
PARIS
[3]
"Promenade sur la Seine
//
LACHMAIV
to May 18
HRmmER GflLLERIES " "" "" """
NEW YORK 22
(1)
London Editor
HouACE Shipp
Sii'iss Editor
AfAiuA Netter
ON EXHIBIT
CHARLES Z. OFFIN, EdHor-m-Chief
Paris Editor AUlan Editor
EUrnett D. Conlan Tristan Sauvage
Germ an Editor
John A. TnwAiTrs
Mexico Editor
Muriel Reger
Holland Editor
CORNEI.IS DOELMAN
Boston Editor
Robert S. Taylor
New Y(jyk Staff: Jackson' G. Barkv. Helen De Mütt. Ralph Fahrf.
Althea H. Loshak. Al Newbill. George Stiles
Vol. XX, No. S
Mav, 1957
/;; This Issue
Picasso is not only to be seen
in thc hiii^c retrospective open-
ing on May 22 at the Museum
of Modern Art in New York,
hut also in a display of his
very recent paintings in the
new qiiartcrs of the Galerie
Leiris in Paris, reviewed on
page 34.
160 Paintings on loan from
the Musee d'Art Moderne in
l^aris are being exhibited in
London. See page 44.
SixTY New ^'ork I-xhibi-
TIONS. running the gamut from
Pre - Columbian Art to con-
temporary works by American
and European painters and
sculptors, are revicwed by our
enlarged New "l'ork staff. Turn
to page 1 2.
TmF PICTURE on IHE COVER
is a painted terracotta (1953)
by Picasso, to be included in
this artist's retrospective at
New York's Museum of Mod-
ern Art. It is from the collec-
tion of Mr. and Mrs, William
A. M. Hürden.
CONTENTS
Picasso, Liherator of the Vision .
hVcnch Sculpture at the Metropolitan
Gallcr)- Pre\ie\\s in New York .
Report from Paris
London NevvS and Views ....
Somc London Modems ....
On Exhihit in Germany
6
10
12
34
44
A9
'S!
NLiy Exhibiticms in New ^'ork (jty
Inside I^Vonl ( o\er
PICTURES ON EXHIBIT is published monthly except
July, August and September by Pictures Publishing Com-
pany, .30 East 60th St., New York 22, N. Y., U. S. A.
Telephone PLaza 3-6381. Single copy 3^ cents. Yearly
.subscription $3.00. Foreign $4.00.
The magazinc cannot as.sume responsibility for thc
rcturn of material submitted. Reentered as .second class
matter November 8, 1946, at the post otiice at New
York I, N. Y.. under the Act of March 3, 1879.
[5]
icasso
t
et'aioy o
Vi
i6ion
S/x Decdcles oj H/s Work ConiN/emayatecl in New York
IV /f IS i: UMS and private coUcctors
-'^'^-''From all ovcr Europc and the
United States have loaned outstand-
ingly important exaniples of the
work t)f Picasso for a huge com-
memorative exhibition markinp the
revolutionär)' artist's seventy - fifth
birthday. Jointly organized by the
Museum of Modern Art in New
'^^)rk and the Art Institute of Chi-
cago, the show will open in New
York on the 22nd of May vvith over
300 paintings, sculpti'.res and drav.-
ings dating from 1898 through
1956.
It will, without doubt, be the most
important Picasso exhibition to be
held m this country, differing from
previous large Picasso shows be-
causc of the considerable emphasis
placed on the sculpture. There will
be forty-eight examples in wood,
bronze, painted metal and p.iinted
terra cotta. Contrary to the gcneral
impression, sculpture is not a recent
interest of this artist, for there are
bronzes in this exhibition that g)
back to 190).
Also included are forty - cight
drawings, and the large number of
studies Picasso made for his Gner-
n'icä. (Will Picasso now do a simi-
lar epic horrendous lament for thj
destruction of human life and liberty
in Hungary? We doubt it.) In addi-
tion to these studies, the artist has
loaned from his studio twenty-ninc
other works v\hich he has never
wanted to seil. About one-third of
the entire exhibition is devoted to
the work of the past twenty years.
The only media not included in the
show are the etchings and litho-
graphs of which Picasso did a formi-
dable number. Tor these there will
be no room, as the paintings, draw-
ings and sculpture will occupy three
gallery floors and part of the sculp-
ture garden.
The exhibition, to be shown Liter
in the year in Chicago, will be an
epochal Q\iix\i in the annals of art,
presenting the living evidence of
what the French poet Paul Eluard
characterized as Picasso' s life - long
search in his art for "the total truth
that joins imagination to nature, that
deems everything real, and that go-
ing endlessly from the particular to
the universal and from the universal
to the particular, accommodatcs
itrclf to all the conditions of cxist-
cnce."
Mr. Alfred H. Barr, tlie Modern
Museum 's noted authority on
Picasso, is the planner of the show.
[61
Sei \ -Portrait (1901): Pablo Picasso
Shown dt the Museum oj Moder)! Art. Seir York
Loaned by Mr. and Mrs. John Hay Whitney
[71
P'/errot ctnci Harlecjuiii (1920): Pablo Picasso
On View at the Musen ni of Modern Art, New York
Loaned hy Mrs. Gilbert W. Chapman
I s I
Mother and Cb'üd: Pablo Picasso
Ou Exhih/t at the Museum of Modern Art, New York
Loaned by the Art Institute of Chicago
(9 1
mnc
k ^cvLiptvire
f
Keu Yorks MelropoUian AUne;n. HolJs A Timelj lishihn
ONE of thc intcresting manifcsta-
tions of the continuing post-
war boom in art collccting, cspccial-
ly on this sidc of the Atlantic, has
beeil thc widcsprcad zcal for the
ownership of sculpture. It is basical-
ly, of course, a part of the ground
swell of Investment motivation. Col-
Icctors whosc avid acquisitivcness
for paintings by thc international
big-namc artists of the 19th and
2()th centurics has made first-rate
pictures.scarcer to tind — and there-
for progressively zooming m pricc
— have turned to the sculpture held
where works by famous artists arc
more readily available and, until a
couple of years ago, relatively more
reasonablc in price.
In this context of current sculp-
ture activity — amply reflected in
the reviews of exhibitions that hll
this issue of the magazine you are
now reading - it is most opportune
for the Metropolitan Museum of
Art in New York to bring together
for a special exhibition its extensive
holdings in French sculpture. Ar-
ranged along the four sides of the
large balcony, the exhibit is particu-
larly rieh in its Rodin and Degas
pieces which dominatc the show.
Displayed in two enormous glass
cases that face each other from op-
posite ends of the balcony are the
famous serics of some seventy small
bronzes by Degas: the ballet dancers,
women bathers, and race horses
which were cast from wax and clay
modeis found in Degas' studio after
his death in 1917. They were pur-
chased by Mr. H. O. Havemeyer
whose widow presented this large
and fascinating group of action-
study bronzes to the museum.
The Metropolitan's Rodin collec-
tion is rivalled by few others outside
France — thanks chiefly to the gen-
crosity of the late Thomas Fortune
Ryan — and here we see the famous
The Thinkey in a small bronze Ver-
sion and also in a colossal plaster
cast; the marble Häncl of GocL Pyg-
malion and Galatea, Love and
Psyche, etc.; and numerous plaster
studies of heads, hgures and hands.
Many of Rodin's wash drawings are
also shown.
Other sculptors included, but to
a lesser degree, are Maillol, Bour-
delle and Hernandez. The most mod-
ern piece is a Brancusi head recently
acquired from the Stieglitz bequest.
Most of the museum' s French
sculpture collect ion was acquired
decades ago and it needs being
brought more up-to-date. And a less
distracting locale than the balcony
would do more justice to the inter-
esting exhibit now being presented.
"n
,,-5r;;'. ■■■■■'*■■■■<*»
HH'.K'} 1
-—«was
^"'•x^im
■'*t', '''^^'^' •,■ 1
'< ,*', ' * "".• 1
wOtfcfc
o
Hercules: Emile Antoine Bourdelle (1861-1929)
„ View at Ihe Melwpolita>! Museum of Art, New \ ork
[11]
101
aiiet'
^
j-^reul
n
mviews in v lew
B) Thi: Macazinh Siaft
GKOKCKS Roi-Ari/r. ci.i;iuy->i.\-year
()l(l (lean ot' iM-eiich painters and
one of llie .tifeat masters n\ tiiis ceii-
turv wlio is sure to be lield in lii.iih
csteeni bv l'ntnre j^enerations as well,
is ibe >nbiecl of a clioice loan exlnbi-
tion ot tiiirtv-tbree ])aintini;-> at tlio
Scbonenian ( lalleries. Witb fcw excep-
tions. all the paintin.^s were plaoed ni
private collections in tbis coimtry by
tii. alt rirni. and niany are bein.^- imb-
liclv exbibited tor tbe Hrst tnne.
Tliouiib tbe cataU).i;iie i^ives no dates
to tbe canvase> (Kotiatilt never dated
lii> pictures) it is easy to identify niost
of tbeni as fallini;- into bis niost .^low-
iiio- und incandescent ])eriod ot tbe
l'Ji30's and earlv l<)4(r>. Tbe earbest,
Lr Uaubourcj, is a street scene done
wben tbe artist still worked in ratlier
tbin i)ij;inent. A niajestically otUstand-
ing tigure subject is Duo, lent by Mr.
and Mrs. Norbert Scbininiel wbo bave
contrilmted >ix paintin.^s to tlie sbow .
P>iblical landscapes are excei)ti()nally
well represented in stieb Inniinous
works as 1 .c l'ii(/itif ( froni Si(biey 1'.
Lipkins). Crcpuscidc (froni Mr. and
Mr>. l''. SerjLier). and Christ and tlic
TiiU) Pisciflcs (froni Julian and Jean
Auerbacb). Tbe exbibition will be
cm-reiit tbrou.ub M«iy 1^^- ^- ^- ^^•
:ii * *
r^miuw: Bkllows worked at a tiine
^^ üben ])ainting i)ictures was still a
pleasnrable activity. His oils, at H. V.
.\llison tbrout^b May. offer botb re-
fresbinent and nostalmia. for be is not
so lar aw-ay as to seeiii Olynipian. yet
just tar enoui^b to enieriie as one (ü' tbe
bt'sl j)ainter> in a robust era ot onr
inniiediate pa>t. )'oiiU(i (iirl i^'itli n
(irccti Hat (1*H5) seenis in no sense
i'aded. for tbe artist's non-intellectual-
i/.ed pleasiire in wbat be saw and
transposed to the canvas witli >nccinct
draw in.i;. deli.i^btful color and freijubted,
Ibient brusb. is conveyed directly to tbe
.iewer. Its air of niodernity conies
from tbe conlident siniplicity of tbe
coniposition. weii;iited a little to one
side; tbe bold drawin.i;- in tbe tlattened
planes of tbe ])ale face and in tbe loops
of bair: and tbe elei;ance of tbe color
— wbeat and .^old in the dress. inoss-
.L^reen in tbe hat. This, and /{//////(/ /// <///
Orcharcl {V)\C)), the only i)ortrait he
l)ainted conipletely outdoors, are hi,L;b
])oints in tbe i^-roup, bnt bis (kisbin.L;-
brusb work is als(j to be ai)i)reciated in
several ])leasant marines. A. l». L.
♦ * »K
iiAiM (Iross' new show at tbe Du-
veen-(irahani exhibits a buoyaiit
teni])eranient. an ener.^etic nature and
a niature skill. Uns sculi)tor treats his
sonietinies recalcitrant niaterial witb
alTection and resi)ev:t. draw in,;;- froni tbe
w-ood (niali()!-any, ebony. lii;nuin vitae
and Mexican rosewood) tbe forins ol
the rrond Mothcr, or the Ilappy
Motlicr, or die VoinH/ Mothcr so rever-
enced by the artist and so joyously
coninieniorated. In the soarini;- inove-
inent of Hirds, with its sli^btly sinister
su.^mestions and the undulant rbythnis
of Crouchiui] I'i(/iirc, in i)ink alabaster.
tbeine. coniposition and niaterial are
coniposed in a mratifyini;- aestbetic So-
lution. A ,u:roup of sinall bron/es, play-
C
WILDENSTEIN
& CO., Inc.
P A I N T I N C S
by
LUIS QUINTANILLA
through May I I
SCULPTURE
by
MARIANNE GOLD
( 12]
through May 18
10 +0 5:30
closed Sunday
19 East 64th Street, New York
tisJ
lul c'uul aninialed hm occasionally re-
tiectin^' a iiiotif (le\ cloped in a iiiore
massive form, completc the sliow alon.i;
with a selection ot draw in.i^s by tliis
versatile artist. Cl. S.
ÜASCiN is represeiited hy teil oils
(alonpf with a dozeii small water-
colors) that are all so comi)letely de-
veloped in color tliat tliey make tlie
most im|)ressive re])resentation ot
Pascin on tlie teclmical level that we
liave had in this country. Startin.s: with
two vividly colored C'uhan suhjects of
1917, then to a 1<H8 slii^luly cuhist ])or-
trait ot Herniine David, and on to the
later nndes and "jeiine tille" suhjects of
1925-26, we tin(l this artist's varyin^-
concern for desijL^'n, hiit in all of the
canvases color is rieh and ji^^enerously
apj)lied. Also on exhihition is a i^roiip
of the .uallery's recent accpiisitions in
modern French paintini^'s : a faiive
period harhor scene hy Raonl Dufy, a
boy in a hlue suit by Soutine, and a
circus ^irl by Rouault heini;" a few of
the en,ii;ai^"inin" itenis in this section.
C. Z. ().
1^ t *
"T^UKXDS IN W'aTKRCOLOUS 'l'oDAV
^ Ttai.v, L'xitk!) Sta'iks" at The
]^)rooklyn Museum is the 19th in the
biennial international series pioneered
by the niuseum to show the proj^ressive
trends in contemporary watercolor
paintin^s. The nmseum has elected this
year to show work from italy in addi-
tion to the usual lariL^e representation
from the United States. 11ie show is
com])rised of 22vS watercolors — two or
three each by fifty-five Ftalian artists
and one by each of ninety American
artists. As in previous years. the niu-
seum has included youiij^er and lesser
known artists as well as tliose of estab-
lislied reputation. Of the Italian artists
re])resented in the show. a nuiiiber
liave achieved international recoi^ni-
tion. 1'liey include : Afro, Hirolli. Buri.
IMorandi. vSantomaso and .Sironi.
JOHN Hkmkkr's delicate. refined
paintini^s (at the Kraushaar Gallery
to May 11) are sensitively orjT:anized
and conij)osed into harnionious rela-
tions of color and form. The somewliat
stylized canvases of 1^^54-55, cubistic
in structure, are kiiowledi,a\'ible State-
ments if lackini;' in pictorial vitality.
The most recent works show many
chaiifi-es. Heliker's intellectuality still
reveals itself. but bis j^^eneral loosen-
in.i;* up and spontaneity of attack really
l)e,ii"in to create exciteinent. Color is
heitiliteiied wliile ima.irinative play of
form and calli.^raphy. i)lastically de-
scrij)tive. all but dominates the literary
source of bis pictures. Tlie>e are Heli-
ker's tinest work to date. /-roni Craii-
bcrry /sie and Harlcin /\{:rr IajihI-
scapc are outstandini;'. A. X.
ik >ii )|(
CrR\KV OF rKl>C\)LlMi:iAX ClL-
'ii'RKS at the D'Arcy is a stunnin.c:
exhibition of terracotta urns. cere-
nionial h.i^ures. iadite (»biects created
between 1500 B.C. and A.D. 1200. The
acute Observation, the cou])lin.ii- of di,^-
nity and liumor. the teclmical skill. the
respect for tradition that perniitted in-
dividual ima.^ination, traits so charac-
teristic of the art of this ancient world,
are all manifest in this rieh disj)lay.
]\\irrior and IJ'ifc from Xayarit : the
polychrome I\uccliu(j W'oiuau and Ball-
J^laycr from Jalisco: lari^^e sliell-carv-
in.^s from Colinia; AEayan stoneheads
of jL^M-eat power; and a jL^ray stone Fror/
from T^uala have an emotional no less
tlian esthetic impact. R. F.
»K ^ -f
I) KCKXT Frencii Prixt Acquisi-
Tioxs at the Peter Deitsch Gallery
contain many rare as well as beautiful
ii'rapbics, such as Toulouse-Fautrec's
.]///('. MarccUc Lcudcr, Dchout: Mary
Cassatt's Cup of Tca: an abstract
color-woodcut by ( n'iujuuin : Bonnard's
litboi^raphic series. La J'ic de Paris,
incltidiniL^ the subtle .h'c de Tn'omplie.
IMcasso is represented by classic and
cuhist prints. A th'st-state proof of
IUI
DUVEEN
Est 1869
MASTERPIECES
of
PAINTING
SCULPTURE
PORCELAIN
FURNITURE
TAPESTRIES
GOTHIC • RENAISSANCE
EIGHTEENTH CENTURY
DUVEEN BROTHERS, INC.
18 Hast 79th Street
New York 21, N. Y.
[15]
J^edon'.s /'/'('//. r C'hrralirr is one of tlie
iiiosl eiitranciiii^' pieces. hut also Vuil-
lard, Dcrain. Rouault. Matisse, Degas.
Pissarro aiul others wliose experi-
nientations liave coiitrihiited so iiuicli
to tlie imilti-faceted si)]eiulor of today's
i^rapliic arls are represeiitt'd by ex-
(|iiisite prints in tliis sliow . K. V.
\A'ii.ij.\M M KVKkown/. HO iiewconier
to llie art world. >lio\\s a deft
paiiiterly toncli in tlie pleasant canvases
at tlic ('hast' ( lallery startin^- May 20.
llis suhjects: nuisicians. liorses. land-
scape, and lii^ures are ronianticized by
suave color and mracetui dra\vin,i;".
)'ouu(i Sin (/er done in orani^e and
brown witli tonclies of lenion is a deli-
cate stndy of a j^irl. ( )raniie nioves
tbron.^ii brown to touclies of red in
Rliytliiiiic Piiiu'c to tbe stroni^er
oran.i^e. red, and black of flic C cllist.
'J1ie landscapes liave a toucb of
Cezanne's coniposition, retaining tbe
sanie fresb color of Meyerowitz's otlier
works. J. ( i. B.
* * *
JrsTKR (iALLKRv otYers two interest-
ingly contrasting artists tliis niontb :
tbe Italian sculi)tor (ireco and tbe
b^rencb ])ainter Clave. bjnilio ( Ireco. a
vSicilian wbo bas been niaking bis lionie
in Ronie, bas a bigbly ])ers()nal a])-
proacb to tbe niodeling of tbe buman
form, a Compound oi classical struc-
ture and a ])oignantly syni|)atbetic in-
sigiit into eacb subject as a sentient
individual. Tbe iini(|ueness of lii> style
bas won for Greco a widening circle
of appreciators in ICnrope. culminating
last smnmer witb tbe Italian scul])ture
award in tbe Venice Hiennial. 'Tbis is
bis first sbowing in America, consist-
ing of aboiit fifteen small bronze bg-
ures, and tbe tbree-foot niodel for bis
large commissioned rinoccJiio. Witb
tbe bronzes are being sbown a number
of drawings and litbograpbs.
riie Clave dis])lay consists of tbis
gay fantasist's original gouacbe and
watercolor |)icturizations for tbe Ro-
land l'etit iJallet de Taris ])ro(hiction
of "Carmen." A rieb ibeatrical llair
being tbis art ist '> strong point in botb
(lesign and color. le bas given lull
reign lo 1 is inngi'i."ti\e fancy in tbese
r(:m])s i'or tbe balicl. ( ". Z. O.
/"^AiiKiii. 1). MC HOT. a voung I^'rencb
VI- 1 1 '• • '
pamter wliose combniation ot m-
gratiatingly tluent brusbwork and
populär luinian-interest subjects bas
gained bim con>i(lerable success in
Paris, made bis \e\\ ^'()rk debut at
tbe receuth oi)ened lu^ter ( lallerv.
W'orking w ilb a ibick ini])asto of juicy
paint. niodeling bis forins witb vigor-
ons >uipes of tbe palette knife. Dan-
cliot reveals a virtuoso craftsmansbip
and tbe iiinate (lallic iiistinct for good
color. At ])resent be is adliering to tbe
safe stereotypes of clowns. liarle(|uins.
inusical still lifes; but tliere is als(^ a
dasli of tlie imaginative in bi^ work —
especiall)' in tbe landscape> — tbat sug-
gests niore inij)ortant tliiiig> to conie
üben bis vision uncoNers inwardly sig-
nificant niaterial. C. Z. ().
\\^iLi.i\M ( ikoppK.u's ])aintings of
politicians, lawyers. jaz/ nuisi-
cians and ])ropbets will be at tbe
A.C.A. (iallery tbrougb May lltb.
(juite tiiie is tbe series of tiftx" litho-
gra])bs also sbown, wbicli lias been
pulled in a limited edition. riie>e are
collectively entitled Capviccs, and tbey
lia\e in fact a great deal of tbe mor-
(lant fantasy of tlieir j)resuined proto-
tyi)es by (loya, tliougb tbe liorrors,
absurdities and beauties in wbicli tbey
deal are niainly contenii)()rary, as is
tbe formal idioni. (iro])i)er's ex])ressive
capacities seem to be enlarged ratber
tlian limited hy tbe grapliic medium;
tbe elusive fragrance of lichocs, tbe
])atlios of Piccc Work and tbe wbite
blast of CJtrisis demonstrate tbe ränge
of feeling- tbat be can exoke in black-
and-wliite. A. B. L.
[16}
M
ARixo Maium bas acbieved a mea-
sure of fanie tbrougb scul|)tured
piece.N in wbicli formal rbytbms are
l)uib imaginativelv around tbe fornis
of tbe familiär borse. In bis new sliow
at Tbe Contemj)()raries, an explicit un-
(lerlying stnicture is manifest, for
example, in tbe bronze Siiiall Ilorsc
and Riiicr w itli its stress on tbe muscled
power of tbe animal and tbe stylized
rigiditv of tbe rider. A visitor is con-
fronted at once by tbe pyramidal bulk
of Larijc Ilorsc and Ridcr and tbe
less known grapbics, wberein are em-
])basized pattern and line. ratber tban
niass, an(l a playful fancy as well. A
Single landscape is a beld of blues,
glowing reds and greens packed flat
and tigbt beliind tbe picture frame.
G. S.
* =i: *
"Davmond Mixtz's landscapes and
^*^ still lifes (at tbe Relin Gallery un-
til May 15) are notable for tlieir tecli-
nical bandling and strong. decorative
design. Miiitz, an artist involved in tlie
tactile (piality (jf pignient, produces
niany visually apj)ealing textural varia-
tions. W'bile tbese iM'encb-inspired
landscapes are naturalistic in delinea-
tioii. bis dramatic conipositional ap-
proacb transfornis tlieni into bold. in-
ventive i)ortrayals. .Iftcr Harrest, witb
its strong linear sweeps of color leacl-
ing rbytlimically into tbe picture plane,
bnds Mintz at bis most imaginative.
A. X.
* * ♦
\ [iDTowx (Iallkky bas assenibled a
group of drawings in conventional
styles under tbe title (iood Praicinf/.
Kingman's gouacbes and black ink
drawings of construction scenes are
vigorous and arresting. Isabel P>isbop's
drawings of women and cbildren re-
atKrm lier gift for deft cbaracteriza-
tion recorded witb cliarm and insou-
ciance. Slie adaj)ts ber style to book
illustration for Pn'dr and Prcjndicc
witbout impairing its f resbness. Xagier
LOUISA ROBINS
recent
paintings
May 7-25
I DUVEEN-
I 1 GRAHAM 1014 MADISON AVE., N. Y.
[17]
sliows stiulies for a Crucifixion; Vick-
rey a series ot clowns' heads. l'adnms
is represented hy stiulies of heads für
liis lar.ne i)aintinij: Hur Italia and a
^roup of nndes. Koenier shows delicate
])eii and ink (lra\vin,i,^s of cliildren and
liikers restin^. H. D. M.
* * *
Irving Marantz's drawin^s will be
on view at the l^abcock Gallery
froni May 6tli to 2^hh. An occasional
gouache or sepia study varies the j^roup
of pen-and-ink drawini^s. The artist's
j)en nioves with the lij^ht sharpness of
a burin as he traces the fi^anxs and
hatches the fornis into planes of ad-
vancing and retreatin^- li.£::ht and shade.
^lany of bis subjects are allej2:orical ;
the human fis^ures acconipanied by
satirical, bird-form shapes of .s^ood and
evil, as in All Mcn Hai'c Monsters.
Miisic for the Family and the tenderly
drawn portrait of Mary, on the other
band, depart froni the philosophical
])lane. A. P). T>.
T IIS (JlINTAMLLA >h(>\\.s twentV"
live neu canvases at the W'ilden-
stein Ciallery in one of bis rare exhibi-
tions in America. 11ie painter is known
best for bis work in tresc(» and for bis
forceful (lra\vinj4"s. His oils asj)ire to
an interest of their own and eniphasize
a vivid imaf^ination in conjunction
with a rui^^i^^ed tecbnicjue. A curiously
barocjue emotion prevails in Alnnid-
oued Fanu — Vermont, where contours
cut ruthlessly across the canvas.
ll'onnni of the Sea, a sombre effort,
^azes back at the viewer out of lidless,
spectral, perhaps drowned eyes. G. S.
i|c i|i Hc
IX/Tarianne Gold's sculpture pieces,
now bein.i;- sbown at the W'ilden-
stein, testify to a supple stren^th in
ali^"nment with a classical spirit. Her
fif^ures are almost modestly invoked
and derive j^race from the biirh Satura-
tion and medium brilliance of terra-
cotta, thouii^h in the formal nubile
bronzes are displayed. in .tresture and
MARY CASSATT
Mother and Child
Pastel
24^2 X 18V^ inches
898
i HIRSCHLß'ADLER
alleries ine.
21 East 67th St., New York 21
Tel. LE 5-8810
[18 1
rhythni. a fluency of line and an ex-
pressiveness whicb recalls, as has been
noted. her master, Maillol. G. S.
* * *
r^oi.u AND Jade objects from Central
America, datinj^ ivom before the
coniin.^- of ihe white man. and number-
inj.^ some 200 ])ieces, are sho\N'n at the
ALartin Widditield Gallery. the first
exhibition of such works at a New
York .gallery. Assenibled rjver a period
of years by the Pre-Columbian spe-
cialist l^arl Stendahl. the objects came
orii^inally from tonibs and j^raves in
Mexico. Guatemala, Panama and Costa
Rica. ^Lasks. breastplates and cast
pendants in human, anirnal and deity
shapes are to be seen in the ^old objects
whicb conie primarily from wbat is
now ]\'uiama and Costa Rica. The
ancient Mavans brougbt piain plaques
of beaten ij^old from the south, to be
decorated by their hi.^hly artistic
craftsmen. The Miztecs excelled in
delicate cast jewelry. In the jade
medium. car\e(l pendants, i)la(jues and
ti.t^urines predominate ; and here we see
more sophisticatedly formal concepts
of shape. The hnest jade carvin^s of
ti,i;ures are attributed to the Olemic
civilization. while the Mayans were
noted for their (leei)ly sculpiured jade
pla(|ues. C- Z. O.
* * *
JEAN XcEuox. whose recent canvases
are on view at the Rose Fried Gal-
lery has been exi)lorin^^ the abstract
idirnn of Mondrian with distinction
for some years. Xceron now employs
a freer style admittin^ curves and ir-
regulär shapes to the ^eometry of bis
comi)()sition. Paint is applied tbin in
these j)ure abstractions where color
areas ed,t,^ed by incisively drawn lines
take their appointed places in a deftly
controlled space. #-/ is architecturally
ccmstructed with botb force and feel-
injL;- ])r()vidini^ stron,!^ movement and
teiisi(m on the relatively small canvas.
Tbree lar.5.ie paintinj^s containing ex-
JUSTER GALLERY
Currenf Exhibifions
GRECO
SCULPTURES - DRAWINGS
LITHOGRAPHS
Winner of the Sculpture Award
for Italy. 1956 Yenice Biennial
X
CLAVE
ORIGINAL GOUACHES
AND DRAWINGS FOR
THE BALLET
including Roland Petit's
"Carfflen"
THROUGH MAY 25
154 EAST 79th STREET
Hours: 1 1 f o 5
NEW YORK 21
Tel.: TR 9-1007
[19]
cellenl jxissa.^es seenied to just iiiiss tlie
perfection of tlie snialler works.
J. (;. B.
•H«
TJoiMS OF Vi KW, an exliibition of
relatively iinknown artists. features
tlie work of tliree painters aiul tvvo
scul|)t()rs. David l.iiiKrs beaiitifuUy ex-
ecuted ahstractions tend to l)e over-
rethied and style-concerned. Alex Katz
is an imaginative colorist, sensinjLi" tlie
plastic. forni-niakiii.i;' pr()])erties of
color. wliile lUirton llasen's forceful
iniai^ery lias iinpact desj)ite a disturb-
iiijL;" eclecticisni. The sculpture of Israel
Levitan is excellently liandled, and in
sonie ])ieces. esi)ecially tlie cubist. the
form beoonies exjilosive in its contained
vitality. Raymond Rocklin. scul])tor,
constructs a bizarre inter-weave of
decorative form siiimiioninm' nj) tlie
l)aro(|ue and tlie oriental. Beminnin.i;'
May 6 at tlie Associated American
Artists Galleries. A. N.
/^^lACoMo ^Fanzi', one of tlie leadiiiii"
contemporary Italian scnlptors. i^
liavinir bis first American exliibition at
the World llouse (lalleries. b'ifteen
bronzes (htiiiii- froni l^^.^S to 1*^^^) re-
veal a forceful talent tliat lias evolved
proi^ressively from the anatomically
realistic ])ieces (Yoidkj Pu'i'id in a
kneeliiii,'" posture is sine\v\ in its ])oise
and balance). to the later ex])ressionist
works of an austere siniplicity of form.
Sharp planes and flattened. ru,«:-i:ed sur-
faces. The Clo'wu, V^SA is one of the
best of tbese. His well known thenie
of a seated cardinal is sliown in several
examples tliat underscore the develop-
ment from classical to expressionist
treatment. and tliere are al>o several
versioiis of Mothcr aiiil Cliild. Manzu
lias executed various comniissions tor
churches and is now at work in bis
studio in ^^ilan for a Stafious of the
Cross for the Sant' Eu.^-enio in Roiiie.
c. z. o.
PAUL ROSENBERG & CO.
Established 1878
19th and 20th CENTURY
FRENCH PAINTINGS
20th CENTURY AMERICAN PAINTINGS
SCULPTURE
20 EAST 79th STREET, NEW YORK 21
[20]
A •\i>i'Ji". F.AXSKOv's exbihition at the
"^ y'mv .\rts Associates reaches from
\^)1() to the i)resent. and eacli i^Vd^t of
liis development afhrnis tbe sheer
painterly (|ualities of the man. W^iether
it be a \^)2H still life or an abstraction
of \^)S(). Laiiskoy revels in tbe joy of
rieb pimnientation, in its emotional ex-
pressiveness. The power ful pictorial
elfects of bis earlier work are i)rodnced
l)v a hold c()mj)ositi()nal sense based
ui)on a keeii ol)ser\ation of and rap-
])ort with nature. In bis abstractii)ns
the sensiti\ ity and simple elo(|uence ol
tbe older work are re|)laoe(l hy more
(lecorati\e ^ensihility. A. X.
.(. .j. .,.
T^ouoTiJV Ilooi) discloses an alieii eye
at tbe l)u\eeii-(lrabani sbowiiij^- of
lier recent drau in^s. 1'be artist studied
under Oro/co and is a secure drauiiiits-
nian e(|ni))i)e(l \\ itb a ])oet's sense and
a (juiet deportnieiit. In her i)ictures
strukture and recession are achieved
and niaintaiiied bv a coolv calculated
movement of li.iLi'ht \()hiiiie> arouiid
shaded areas. Her line is evocative and
non-descriptive hut delicately exjjres-
sive. Tboumh ti^ure> and ^uo-oestions
do emer!:;e. these drawin.ii:s are evoca-
tions eoncentrated, so t(> >i)eak. under
such titles as Terror: Ou I'lr.vus of
Limits. The Appareut \ ow und the
.llieii Tye. Tbe artists Hoiriiu/e to
Jiiisor e^f()rtles^ly Mistains an austere
emotion. Cr. S.
«I. .>. lU
\ NDKK l''.M MKkICli ( i A 1 l.Kin' ba> Oll
^ view sixteeii i)ictures from a mod-
ern j)rivate collection. Tlie >lio\\ tea-
tures a \^)27 Leiter jn-oiiache. >e\eral
Miros datiniLi- betweeii 1*M5 and V).V),
a niiniscule Picasso ink >kelcli and a
nuinber of Kaiidiiiskys. Tbe t^roup of
Klees includes soiiie iniportant ex-
ani])les. A \^)2() ink and wa^b called
ClosiiK/ Seeiie of a Ihuiiiui. a Llnssic
/'t\s7/\-w/ ( P)J8) and Hird, lind of Oc-
fober are in tbe artist's be>t vein. Tbe
collection is beinii;- exliibited toi^etber
^üii ifi|'ni,]i!J!;ti . iiiffiiimjfl
IPIP
Boaf Landing
May i-31
Paintings by
GEORGE BELLOWS
H. V. ALLISON & CO. 32 East 57th St., N. Y.
[21]
with (ho Pi-e-( nlnmhiaii sciiljxures re-
vieued lierc last inontli. Jl. D, :\[,
>!• * *
jQoKOTFrv Dkhnkk inio-ht he placed
amon^- Anierica's '•Toteinist" sculp-
tors. irarrior Rctunicd, with its riiioed
aiul l)iin)()iis iiiodelled foniis. or Biblical
Story uith its Hat pillars hiiilt c^f
S(jiiari.sh tornis on which suiuh-v hiero-
.dyphs are (h'awn. have private inean-
iili^s. 'I1ie (lo-ures in lunuilv Group are
endowed with the emotional rioi(h'ty
ot childish or prinn'tive fetishes. The
interest lies not in plastic form, luit in
the almost punnin.^- details. The care
with which the hronzes ( at the Willard
(rallery. May 7th to .^Ist) are cast. hin-
ished and snited with hases is ^Tatity-
iii.i^'- W'atercolors hy the artist are also
shown. \ R T
* * *
p^RKDKUk W'jfiTAKKR is rei)resented
alon- with hj'Ieen Alona.^han. liis
wite. m a showino- of the couple's new
watercolors at the (irand Ontral \rt
(ralleries. The exhihition. titled "I\al)u-
lous Spain— Artists' Paradise". is pre-
sented in Cooperation with the Spanish
Institute. An inipressive list of Spon-
sors lend wei.t;lny names to an im-
posin.i;- display of pictures. mainlv hy
y\\\ Whitaker, a self-taii-ht and. it
appears. tireless painter and traveler.
Sccrct of the Hcadcd Poor is hv Eileen
Mona,i;han. thoiioh its romanticized
and somewhat literary descriptiveness
nii.^ht have heen the contrihntion of
either of the W'hitakers. G. S.
* * *
'pm-: Alan- Callkry's exhihition of
new works hy some of its Veteran
artists. is diverse yet homo.^-eneous in
its contemporary ontlook. The sculp-
tors. Andrews. Scpiier and especially
Kin.q: elicit the most interest. Kin,i;-''s
.S(V/ Portrait, personal in iina,^ery.
ntdizes the heautiful .i^-rain and natural
eolor of the niaho<^-any wood from
whicli it is sculpted. S(|uier is now
workin,^- with more massive shapes.
Ancient Art
of the New World
GOLD AND JADE OBJECTS
FROM MIDDLE AMERICA
Ist TO 14th CENTURIES A.D.
throngh May 18
MARTIN WIDDIFIELD GALLERY
818 MADISON AVENUE - . NEW YORK
concentratinj^- on the volunies created
hy form itself. His Palling Ju'gurc is
very satisfyin^'-. The painlers' section
of the show is rather dull despite the
technical ahility displayed. I^rice Stands
out in the j^-roup with his curioiis nude
fi.i^an-es posed in ahstracted settin,^-s.
A. N.
>^ * Hi
T Tarrv Lachman, an Anierican-in-
i'aris hetween 1913 and the mid-
l^iO's. turned from paintin^cf to motion
picture desi.^ning- and directin.ir thirty
years aj.j-o. Recently he has returned to
his first love. paintinj^. and is exlübit-
inir sonie of his new landscapes to-
.trether with a lar^i^e selection of his
early views of F'rance and Italy at the
Hammer (ualleries. These early works.
many of theni quite lariL^fe. are solidly
and impressively constructed. in a
post-impressionist decorative style. His
deep attachment to the landscape vistas
of Southern France, to the quays of
I'aris. and the hill towns of Italv'is re-
dected in the thou,i;htful desi^i^nis and
meticulous handlinj.^- of color. He seems
to have profited not only hy an admira-
tion tor the work of several of the
noted post-impressionist h^renchmen
hut also hy personal accjuaintance with
tlieni. C. Z. O.
* * ^
T^ 1 1 K f 1 A .\ s ] 1 o F M A x x r et r( >> pect i \- e
at the Whitney Must'uni ot Ameri-
can Art. contains oil paintinjL^^s, water-
colors and drawin.t^s stn-\e\ injLT the
artist's work from 10()J to the i)resent,
with the emphasis stron.i:!}- on paint-
iu.i^s done in America since 1035. To-
day Hof mann, at the iv^g of seventv-
seven. Stands out as one of our most
Ai^orous ahstract painters and teach-
ers. l^orn at \\'eissenl)nr,<:-. ( Jernianv,
in 1880. he studied as a youth in
Alum'ch. and worked for a ntimher of
years in Paris. In H)15. he opened his
own art school in Munich and has
tau.i^ht almost continuously since then.
In 1^30. he ilrst came to America to
SAIDENBERC CALLERY
10 EAST 77fh STREET
NEW YORK
Ex+ended
to May I I
Exhibition
opening
May 13
LYNN CHADWICK
RECENT SCULPTURE
HOMMAGE a KAHNWEILER
honoring Daniel-Henry Kahnweiler who over the last fifty
years has represented the following artists:
BRAQUE - GRIS - KLEE ■ LAURENS • LEGER
MANOLO - PICASSO
BEAUDIN - KERMADEC - LASCAUX • MASSON
ROGER • ROUVRE
[22]
r23]
Icach at tlic rniversity of C'ali fonii.i
in llerkeley. Attor lioldin,^' siniilar posi-
tions at tht' Art Student^ Leai;ue and
tlie Thurn Scliool in (iloucester. lie
aiLiain opened In's own scliools. in Xew
^'()^k ( l<)3vV) and in Provincetown,
Massachusetts {19.U). Tliroiijuii tliese
liave passed a wholc .L^eneration of
American art studcnts. includinii" some
of our leadin.i^- y()nnt;cr artists.
:"; Hi *
,"1.101 ()*!1 \R\. a Veteran \vaterc(^lor-
^ ist. is sliowin.ti' an exliihition of bis
recent pictnres at tlie (Irand Central
(ialleries. Tlic artist has a ready hrnsli
and an itinerant's concern witli for-
eii^n places. He works witli assurance
and witliin tlio liniitations of liis ratlier
restrictive interj)retation of a medium
tliat lia> moro to connnend it tlian
])leasinm- tonalities and scenic elYects.
liowever exotic. In tlie slender, col-
iininar Aftcnnatli tlie arti>t liints at.
ratlier tlian altoj^^etlier fultills, tlie niore
sul)tle possihilities inlierin^- in tlie art
1
form tliat lie lia> worked at so dex'oted-
Iv for >o lonii'. Cr. S.
' 5i< -M *
A f AKcoT Kkmpk is primarily a crafts-
^^^ man. a.s may be seen in her terra-
cottas. shown at the Wellons ( rallery.
Tier work, witli a certain bland mod-
ernity. imitates forins or formal ideas
but only occasionally rises to the level
of expressinii" tliem. Owin^ to tbe re-
straint of the roui^b terracotta sur-
faces, there is little modulation of li.^bt,
and small feelinj;- for plastic form.
11iere is, instead. a self-effacinjL;- taste-
fulness hi.^hly suitable to decorative
pnrposes. A. R. I>.
>j: * 5|!
\ Trio at l.ynn Kottler's presents
^^ Clara Onievsky's sculpture, includ-
in.i;- a w ell-characterized liead of David
P)en-(iurion. and so-called needle-
])aintin.i;s. a conibination of eml)r()idery
and tape>try tliat comes ot¥ best in tbe
wbimsical illustration of tbe Russian
j)oet Pn^bkin's Magic l^rcc. Nelson
Exhihitions
joiix iii:liker
• _ •
pfiinliniis
to Mav 1 1
114 paii\ti:r-prixtmaki:iis
May 20 - Jum» 7
KRAUSHAAR GALLERIES
1055 MADISON AVENUE (cor. 80th St.) NEW YORK
[24]
Ro(lrijL;-()'s carefiiUy planned land>L*apes.
anion.LT wbich Smiscf is dramatic in
color: and ( iertrude Stein KatVers still
lifes of decorative Howers that >tand
out from an almost jet-black back-
«rroiind. also li^ure in tbe exhibition.
* ♦ *
/^i.MDK ViSKix sbows ei.i;bt lari;e
^ paintini^s in bis first sbow in Xew
York at die Castelli (iallery. He iises
ripolin i)aint in brii^bt colors with .^ay
and lively eff ect. Some camases sbow
a (lecided Pollcjck intiiience, a lar.^e
lan(lscai)e called /.yciaui for exam])le.
Fn otliers be iises a rhytbmic calli-
^rapby of dots and dasbes. like Morse
Co(le,'\vliicb lends liunior to bis bland
over-simplifications. Lcs Voisiiics, in
kinder.iiarten colors on a white back-
o-roimd, recalls Miro. Lyiii(/ iu ihc
Strccts is Imilt np in stroni;- linear
rbytbnis of browns. blacks and reds.
Tlie work is pleasant. clever, decorative
and fashionable. ^T. 1). M.
* * *
T^'RXESTO Trkccam of Milan ])rem-
^^ iers in America at tbe John Heller
Gallerv witli work datiniL;- from PMO.
11iese"years have taken bim from a
Picass()'es(|ue style to realistic concern
with tbe Italian peasants. The later
l),'Mntin!L;s seem stron.uer. more i)ers()nal.
The lari^e On ihc luirtli in typical
earthy dark .üreens and .c:reys sbows
seveii peasants restini^: by tbe wavside.
tbree major fiirures lookini;- stolidly at
tbe artist. A dark peasant t^irl knee-
(\i^t^]) in i^reen foHa^e (Viiitac/c Time)
is another .ij:enre work well painted in
a hold inipressionist tecbni(|ue. J. C,. R.
*
5H
M. Padi-a. now exbibitin.i^- at the Van
Dienien-T.ilienfeld Galleries. is a
conservative European painter of the
old school who keeps abreast^ of tbe
tinies inst enoui^h to infnse bis work
with an inipressionist or expressionist
feel. At tlieir best tliese paintin^s of
landscape, still life and portraitnre are
Parke -Bernet
Galleries, Imc
[Leslie A. IIyam, President]
980 MADISON \\ KM K
NEW YORK 21
Seile II latj S (,'l S p.uL
OLE MÄSTERS
XIX EE^TLRY and
MODERN WORKS
Property of
A MASS/\LHUSETTS
PRIVATE DWIVEH
^m DTHEHS
\ an Kuysdael, Cianach the
Kider, Teniers ihe Youn^^er;
Romney, Raeburn, Vi2;ee-
Lebriin, W illeni Kalf and
otliers
A Finc Corot
Fanl in-Latour, Mancini,
Worms: Monet, Jawlensky,
Raoul üufy, Boudin, Vla-
minck, Redon, John Sloan,
Waugh, Pushnian, Hartley
Childe Hassam and others
A bronze by Daumier and
a sculpture by Sintenis
Illustrated Catalog 75r
(Qu vieiv from lllayjt
^2^ I
suniptunuNl y exociilcd in a robust slyle.
Jlardi)' a dai'iiii;- paiiitcr, I 'adua doo
mauai^o to croalc a liltlc excitement
willi coloi-i'orni ex|)eriniontati()n in
several oi' hi> land^ca|)e>. A. X.
* * *
Tonx W'iioRK is not afraid to ])aint a
J "picturo" — lia> in fact heen j)ainliniLi'
tlieni for niruiy seasons. His det't. con-
serva.ti\'e watercolors of I Boston, ot
sea>.'ape> ai tlie C'apo. sailhoats |L;t)in.ti'
füll tut and white claplxKird liouses in
tlie snow . allow one to induli^e in nos-
tal.s^ia lor ->oa^''.ore sunimers and \e\v
]^n,i;land \\inter>. At times the hhies
are too per>i>tcnt, and i^Teater solidity
and dcfinition are occasionally wanted,
l)Ut >urely ln'> work' woiild l)e |)leasant
to conteniplate in a steam-lieated Xew
^ ork apartnient. in drear\' l*'el)niai*v.
A. 1^,. f..
^ ^ ^
\ i.KX AXDKR Kix(i oj)ens tlic ( 1iase
^ (raller>'.s new (piartcrs on I^ast
64tli Street witli Ins lusli surrealism.
Kin.^'s alleL;"orie> are pkayed out niainly
in tue World of theatre and music.
ty|)ically ky (k)ll h^'ures wkose j)kastei"
.skin crack> to reveal tke wood beneath.
/// Cliilii rr()il{(/y tke>e li.^'ures applaud
a \ iolin-pkayin,!^' boy inanne(|uin en-
ch)sed in i^lass. \ leerini;- ba^' backed
by a ])osturin|L;' erew of "supporting
pkiyers" satirizes Tlic (Vd Actrcss.
The artist'> fantasies are rendered in
the painstakin.i;' (K'tail and j^arisb color
of tlieatre (h"a])es and accessories. but
are niore in the category of illustration
than paintini^-, J. ( \. \\.
* * *
CTamsox Sc ha MKS has an interesting
^ niixeckniecb'a techni(iue of water-
cob)r and .^ouache. occasionally intro-
ducing In(ba-ink lines and blobs of
thick oil paint — all blended in an et^'ect
of spontaneity in the a.i^itated interplay
of mat and luminous areas. In his ctir-
rent show at the l^ste (iallery, the siib-
jects that are best served by this calli-
^■raphic treatnient are the Alpine land-
Jcan-Baptiste Leprince
(1734 -.1781)
Galerie Meissner
KURT MEISSNER
Florastrasse 1, Zürich (8)
Switzerland
[26]
scapes and the Provincetown boat
dienies. A still life titled limpty (Hasses
is also anion.i^- the successfui works,
convertin^^ enijjtiness into a sparklin.i,^
constellation of repeated fornis and
.^■leaniin,!^- sin-faces. C. Z. O.
djC dfc ^
/^LARA Haas, who shares a double ex-
hibit at Pen and Brush. denion-
strates an assured handlin^- of water-
colors from a traditional 77/c ll'rcck
to a fascinatinj^'- casein paintiuji;- C\-
prcss (fordciis, uhere exact realisni
has been abandoned in faxor of a
\ery |)ainterly treatnient of \\0\t fdter-
hv^ throu.^h trees. Kdna Pennypacker
Stauffer, late professor of art at I lun-
ter C\)llei;-e, is represented b\- lifteen
litboo-raplis in this exhibit at the Pen
and Hrush. ('lose Observation of nature
and a sensitivity to atin()Sj)lieric condi-
tions (sini breakini^- throii,iiii cloiids,
77/ c Jiiul of the Cialc, late afternoon.
etc.) ^ive zest to the^e traditional
landscapes. niany tropical and niany
dose to the sea. J. G. B.
* * ♦
JOHNNY Friedlaendek's etchin,iis are
beinjL,^ introduced to Xew York at
the Weyhe Gallery, throu.i^h ^Tay. Ile
enlarires the scope of the medium to
include a .i^reat variety of technicpies —
a(|uatint. dry point. tlie su.t,^ar method,
and others not classifiable — on each
plate, ol)tainin<:i- considerable richness
of texture and tone within a niuted
ran^'-e. ffis animals. spi;n sharply into
die fretted and textured backjLiroimds,
lia\e the totemistic quality of meclian-
ized toys or of dreaiii syinbols in the
Nein of Klee, thouj^-h more remote. His
li.Ljures ha\e an almost nionumental air.
A. w. r..
)(( if >((
A TokTox HoLLiNGER aud Alex Ce-
^ KVA/A lia\e a dual show at the
Pietrantonio Galler}'. Insj)ired by Max-
Weher, Hollin<ifer j)aints callijsfraphic-
ally emphasized musician^ in brii^dit
liues. Cadcuaa interprets the ncdse and
GUTEKUIVST & KLIPSTEII
Klipstein & Kornfeld, Succrs,
BERN, SWITZERLAND
Dealers and Auctioneers in
Old and Modern Prints and Drawings
Laupenstrasse 49
Announce 3 Aucflon Sales
from June 4th to June 7th, 1957
1. OLD MASTER PRINTS
Säle No. 85, catalogue of 450 I+ems
2. PRINTS AND DRAWINGS BY
MODERN MASTERS
Säle No. 87, catalogue of 800 items
3. DOCUMENTATION LIBRARY FOR
THE ART OF THE 20th CENTURY
Säle No. 86, catalogue of 450 items
All catalogues, richly illustrated, sent post free on request
[27]
GALERIE D'ART MODERNE
MARIE-SUZANNE FEIGEL
BASLE
(Switzerland)
LEADING
MODERN ART
Aeschengraben 5
Phone: 061/34 Ol 46
Daily: 10-12 a.m., 3-6:30 p.m.
Sunday I 1-12 a.m.
PAUL VALLOTTON
S.a.
LAUSANNE
6 Gd. Chene - Switzerland
PAINTINCS
XIX and XX Century
NEW TALiNIT
R. Lytie
R. Markman
A. Plotkin
S. Rosenthal
May 18-
June I 5
Kanegis Gallery
134 Newbury Street. Boston, Mass.
color oi a ni.i^ht-spot witli e\lcinj)()r-
;ine()ii> \ i\aciiy. Ceni/zi's arohitectonic
t()nii> lia\t' tlic clialky dryness ot
fre.scoo l)iit witli a distinct sense ot
(leplli. Constniclioii in Rrd and tlie ini-
a,i;iiiati\(.' Pisiiitr(/rati(>ii destM"\c at-
tention. K. P\
H' H' T»
T Ol -ISA l\oi!i.\s lias tau.q-lit liciself
resolutely to paint after tlie nianner
ot' tlio acadeniics. her current cxliihi-
tion at tlie l)it\een-( Irahani reveals.
'riie>e paint in.i^s are j)riniary in color
and unanihitious in desi.ii^n. the central
emotive ettect hein;^- sin^le and nos-
tal.i^ic. Siiiuhiy is a i)ict()rialization ot
nice sentinient. a .qirl lonesoniely or
horedly po>ed heneatli a ])eacli uni-
hrella. uliile iioldcu (iatc Hrid(/c sus-
pends its tanious suhjeet under a
iL;lanioroiis and iniprohahle sky, ( i. S.
* * *
/^iiAUi.oT'i K ( )k\I)()rff's watercolors
on riee-pai)er and linen, sliown at
tlie W'ellons (rallery in April, retlect
an iiiia.tiinative talent fnrnislied with
Visual sensations ohtained principallv
froni tlie art ot liistorical cultures —
oriental and Ilellenic. Surf sii,^-,i;ests
tlie delicate tlirust and foani of waves
ohserxed in ( hnt not copied froiii ) a
Cliinese paiiitiiiii-. Otlier watercolors in
the show have no such deliherate cul-
tural reterence. The elusive. delicatelv-
luied })atterns resiilt from the hlooniiim-
and coa^-ulation of wetdaid color. into
w'hich are drawn sliarper, defininc;-
A. P>. !..
>H sfj ;j:
— lines.
r'^ASTKM.i (iALLKin- is sliow inji;- a
.i^roup ot action painters. of the
most radical win.^". Incktded are new
Works hy ten artists. Marisal's wooden
sculj)ture. (juasi-priniitive faniily «j^roup
mounted on a ^^o-cart. is outstand-
ini,'-. Alfred T.eslie's jLi:ran(lilo(|uent 11 o-
hohcu I'inal sliows the emotional ran.^e
|)ossil)le in tliis kind of paititin.i^- :
An.i^elo Savelli shows a relief usini;- tlie
hetero,i;eneoiis materials virtuallv or-
thodox since Dada. h^-ie(ll D/uhas'
JL'iirt I Aiud i> Iow-keyed and niy>ter-
iou> : Norman Uluhm's li\':zantiuc
Jiiirfli in hlues is subtle and iilowinir.
'liiere i-> a faint aura of hi^j^er-and-
hetter ahout the show; tliis reviewer
failed to feel any sense of the adven-
ture of the >pirit. II. I). AI.
^i' ^ ^
T^'RNA W'kill's i)ieces at the Sclione-
^ man (lallery jtrove her a forceful
sculptie>> delxiiii^' with an expression-
ist simplicity and exa.^'.i^eration into
rieh litunan niaterial niany tinies on
Jewish themes. Her larj^est piece,
J)i'al()(/i(c, Catches the movement of
arm-unient. 77/ (• l ' iikiiou'ii Political
Prisoiwr surrounds the hust of a pris-
oner with three threateniiii;- hooded
slia|)es. llüiina lias stren.^th and a
sui)ple movement. Stronji^- portrait husts
and foin" liandsonie Jewish ceremonial
ohiects coniplete the exhihition.
j. (;. H.
* Hj *
j\ F Aiu KL Salixas, of Paris, exhihited
landscaj)es and still Hfes in April
at the llainmer Galleries. An air of
roiitine Performance hovers over the
still lifes with tlieir conventional and
repetitive .^roupiiij^s of studio frtiit and
lei^etahle.s posini^^ on a table top. The
land>cape> have more to conimend
tlieni. especially those painted in soft
textures tliat achieve a serene atmo-
spheric envelopment. stich as the excel-
leiit 77/ 1' Sf()}ic IWiU in a hazy .^'reenish
yellow key. C. Z. O.
5}« * *
\ (.kori' exhihition at the Ruth White
(rallery, from AFay 7th to June Ist,
inchido oils hy seven of the j^allery's
painters : and sculpture in teakwood hy
one of tlieir sculptors. Ray Fink.
Amonii- the painters Mildred Crooks
stand.N out \*^n' her Hicyclcs, whose ah-
stract ctu'ves ride with in planes airly
patched in mild hlues and pearly t;reys.
Syl\ia P>ernstein handles watercolor
with contident deep waslies. from
whicli /h'rchcs are picked out in opa(|ue
white. Afortimer Laiiii'hlin's fantastic
NEW WATERCOLORS BY
JOHN WHORF
fhru May 4
from May 6: GROUP EXHIBITION
CONTEMPORARY AMERICANS
MILCH «*""'"
•^■■■■^•" ■ 55 E. 57 St.. N. Y.
modern
paintings
and
sculpture
PIERRE MATISSE
41 E. 57 NEW YORK
[28}
[29]
GRAND CENTRAL
ART GALLERIES, Inc.
Porfraif Specialists
15 VANDERBILT AVENUE, N. Y.
^
MAX
ERNST
P A I N T I N C S
AND BRONZES
fo May 17
lOLAS CALLERY
123 E. 55
N.Y.
'ii
landscapes with their chill color and
taut expanses ot space siibtly sliaded
into planes, liave a ten>e. xmiewliat
oriental distinction. A. I). L.
*
'T*ARKA(i()XA, a youn.!;' Mexico City
artist sliowin.ij- at Cialeria Siidanieri-
cana. has fonnd ins])iration in cave
paintinjT^ for a bold and personal treat-
nient of waterculor. The tendencv in
tliis medium for pii^nients to spread
out in accidental patterns wlien apj)lied
on a wet .i^i'^tind has been utili/.ed to-
i^-etlier witli a simple line and warm
color in an economical style tbat evokes
tlie prell istoric. In Rcim'niscoicc of
AUiiiiira 'l'arra.^'ona brini^s off tbe de-
sired etYect admirably, as he does with
Buffalo. W'here sujh au>tere scarcity
of means is relied on. success can be
close to failure and not every work
jiere succeeds. J. (i. 1).
9fC JfC 5(C
JAMKS CoKiXARi) is havin^- bis first
show in this country at the Col-
lector's Gallery. The all-over patterns
of the earlier canvasses sliown seem
in process of beinj^' replaced by one
major sliape derived from various still
life objects whose forms are heavily
I)ainte(l with a certain i^rim brilliance
of luie — note a watermelon of virulent
purple. Some heads of women suji^^j^'-est
Chairall. thou.iih without bis poetry.
There is an overtone of symbolism in
which acerbity seems oddly mated with
sentiment. A. P). T..
* * *
CvLViA SiiAW Ji'Dsox shows sculp-
tures of animals and a few humans
in bronze, granite, marble and lime-
stone at the Sculpture Center. Tt is
garden sculpture. designed to Orna-
ment private and public landscaping"
and endure weatber. Some of the ani-
mals are over-stylized in an arch man-
ner. The sculptures of children have
more spirit ; CraudcJiiJd in bronze
shows traces of the artist's early
master. Bourdelle. H. D. M.
[30)
\ i'.iDiXF.'s canvases at the ( "adan (lal-
^ lery are strikinj.^ and dec( )rative.
X'ibrant oran.i^es and l)ro\\n> warm
these pictures to the intensity needed
for sun on sand. Oesert warriors. sniall
fi.nures in vast expanses, tie the sj)aces
to^ether compositionally as they thread
a |)ath up the canvas castin.i;- loniL;-
shadows to the rig-lit. The tiieme is
I)layed lar.i^e and small from canvases
six feet to ei.^bteen inches. It is re-
stated in several large black wash
(lra\vini»s. a.iiain simple and bold.
1. C. B.
* * *
jV/TAUf Ko\i:x, a jewelry desii^ner.
Otters oils, pastels and drawin.^-s
in a siu-realist vein at Lynn Kottler's.
The countless details cannot camou-
tla.^e the lack of sure draftsmanship,
and a strenuous attempt at voluptuous-
ness carries the works beyond the
borders of i^ood taste. R .F.
(Cofitiinicd on pagc 60)
^ (0
<
(D
>
<D
O
May 1-31
FROM TLATILCO TO MAYA
o survey of Pre-Columbian Sculpture
D ARCY CALLERIES
19 East 76 New York
LYceum 6-4848
1-6
PASC IN
and the
SCHOOL OF PARIS
through May
PER LS
GALLERIES
1016 Madison Ave.
New York 21
WELLONS GALLERY
noon to 8 pm
17 E. 64 ST.
VINCENT
GLINSKY
SCULPTURE
May 6- 18
PAULETTE
COHEN
OILS
May 20 - June I
[31]
jir ■i^-imi(imnffiiMnNi¥rtriii1i>:i
'"^y"'"'^ f^ -^ -
Dcviciuii^ Mother: Chaim Gross
At DNveen-Grabam Gallery, N.Y.C,
Pr'Ditemps Pans'itnne: H. Lach man
At the Hammer Galler'ies, N.Y.C.
Idyll, II: Miriam Shapiro
/;; fhe New Tdent Shoiv, Musejwi of Modern Art, N.Y.C,
I 52)
I'
f
Portrait of ]: John Heliker
At the Kra/Lshaar Galleries, N.Y.C.
Warrior: Colima. Western Mexico
At the D'Arcy Galler/es, N.Y.C.
ß//s Stop: Helen Beling
Shoun at Uunersity of Illinois. Urbaiia-Champaign
[33]
DURAND-RUEL
Established 1803
37 Av. de Friedland, Paris 8
Cable address: Durandruel — Paris
MODERN PAINTINGS
Mav 7-22
LOISEAU
GALERIE
.TAPLil^
51 rue de Seine, Paris 6
Dan: 91 -10
APPEL
SERPAN
to
May 16
May 17
to
June 13
GALERIE CLAUDE BERNARD
5-7 rue des Beaux-Arts
Paris (6) Dan: 97-07
Paintings always in sfock by
DUMITRESCO - MARFAING - MARYAN
PELLOTIER MARCEL POUGET -
MANUEL VIOLA
Sculpfures by
DODEIGNE - JONAS
,i;e()niotric halance and (|uict Iiannonx'
to tlioe scones.
Z\ u . known in (Ireat Ijiitain, is
showin.i;" a collection of ahstract com-
])()siti()ns at the Henri l)enezit i;allery.
He relies lar.i;ely on colour to i^'et liis
effects. usin.i^- varied patterns ot red,
.i;reen. niaiive, hlue and yellow in one
canvas after another, each ot whicli
strikes a dominant note. Tliere are
paintini^^ in whicli the passaj^'e troni
one tone to another is nianai^ed with
.i;'reat suhtlety.
Moualla. a Tiirkish artist showinj;- at
the Marcel Bernheini ^allery paintiiij^s
with stran,i;e characters, is uinisnal. He
eniploys vivid colour to depict hoheni-
ian types, niusicians, flower sellers,
sonietinies a,i;ainst a backii^round of
pure verniilion red or lii^ht .ii^reen. 11ie
ti,i;ures at tinies recall sonietliinji;- of
Lautrec and otliers by tlieir vital ity
and "iiatiircl" reniind one ot h^)rain.
Suraud. at the same i^^allery, is a
h'rench sculptor troni St. I^tienne. His
wood carvin,L;s are attractive and coii-
vincinm" whether the subject l)e of a
relii^ious character like the head of
Christ or portraits of peasants.
Sinol is showinj^' at the Galerie
Creuze and at the Lucy Ivro.^h .^allery
a total of tifty paintin.qs. His art,
whicli has a traditional hacki^round
and poetic iniplications, recalls sonie-
thin^- of the world of Watteau and at
other nionients that of Redon. He is
nevertheless (piite orii^inal. He knows
how to create an atnios])liere of niys-
GALERIE MAEGHT
13 RUE DE TEHERAN
PARIS VIII
BAZAINE
RECENT WORKS
MAY
Le Port de Cannes: Bonnard
Musee cl Art Moderne, Park
Le Rot David: Achiam
Galerie Lara Vtncy, Paris
[38]
Tete de Christ: SuRAUD
Galerie Marcel Bernheim, Paris
Enjant Torero: Jose de Lapayese
Bernheim-] eune, Paris
[35]
i^lyplis. An air of witchcrafl perxades
many of tliese scenes and tliere is a
J lioenician llaxour in somc of tlie por-
iraits. The enlire exliihition is a tour-
(lo-force. ils aestlietic (|ualities are
i|uite insiniiatin,^' and despite the fact
tnat tliere are elenients tliat recall the
arts Ol i)ast and present. he has created
a han^ua.i^e wluch is liis and (juile
nni()iie.
The exhihition of (h*a\\ inqs hy
Derain at the (lalerie Mae.^ht contains
a collection of .sketches in san,i;iiine
and crayon. not ()rii;iiially intended
for show, and seen here tor the hrst
time. Many of these are sketches done
for iise in paintini;-. There is a sculp-
tural (juality in tlie saniiaiine (h-awin.^s
of niide h^ures seen in the round
uhich show tliat, at lieart, Derain lield
to the classic conception. And there are
other influences such as African art,
(lothic art and niuch eise fused into
a uni(iue style with soniethinj;:: like a
Chinese suhtlety and distinction.
The collection of en^ravinji^s whicli
Jac(|ues Villon is showin^- at the
(lalerie l.ouis Carre Covers a ])eriod
of niore than forty years. Descended
froni a faniily of en.^ravers, Villon has
exercised his craft iiow for niore than
half a Century. The series wliich runs
froni l^ni to 1953 niaintains a steady
level of hi.i;h (|uality wliich is visihle
at a i^iance. 'Jdie ])ortraits. wliether
tliose of 1911 or \^)5?> are e(|ually at-
tractive. The lan(lsca])es show tliat
architectural order whicli we see in
l'oussin and wliich is typically h^'ench.
llis art expresses order, System, logic
and .stahility and lic is perliaps the
niost essentially h^'encli of all the
artists of our tinic.
Aristide C'aillaucl, who in sonie
(piarters has heen consiclered to be a
naive ])ainter. is rather an artist of a
])oetic and iniaj^inative order. Ile
knows how to secure the niost satis-
factory pictorial arranjLTenient wliat-
e\er he the suhject. His exhihition at
the ( ialerie i'enezit contains a varietv
of thenio all of uhich are extieinel\
orii^inal. II i> lorcador is attracti\e he-
caii>e of it> structure. its personal
style.
The .Salon "1 'eintres-1 *oetes" at the
k'ayniond Duncan ^alleries includes
se\ent\ artists inore or less addicted
to writin^ poetry. With Paul X'alery
paintini;" was little niore than a "violon
(rinj^res". Otliers like Raymond Dun-
can. Cocteau. Tristan Klini^sor. W'aro-
(|uier. Max jacoh and Henri lleraut
are e(|ually at liome in hotli art.s. hanile
IJernard. liourdelle, Andre Lhote.
Met/iniier. and Morvan are hetter
known for tlieir paintinjL;".
"Des Animaliers" are lioldin^^ their
salon in the hi,^" jL^allery of the C'ercle
X'olney. Tiiis includes over thirty art-
ists. with a .i;r()up of C()ntenij)orary
Chinese and Indian painters. Sandoz,
founder of the s(jciety. is well known
as an expert of hronze alloys able to
.i^ive life to animals of all sorts in
hronze and in j)aintint;-. Hilhert is ahle
to carve an ea.^le from .^ranite as only
a few craftsmen caii. .Simon, Treniont,
Piayser ( iratry, Ponomarew, Flehert
C'oetVni. lirii^aud and P)ertlie Martinie
are all interesting' for their work in
hronze and stone. Dunand is one of the
chief h'rench artists in lac(|uer. Rous-
seau in ceramics and Marsa is noted
for her ])aintinms of exotic animals in
hrilliant colour. Anioui;- the Chinese.
Chou Din,^" shows a classical art of
i^reat linesse. Pan-yu-lin, known for
her ])aiiitini;- wliich is a rare fusion of
the art of I^ast and West. Kaiko Moti,
an Indian artist froni l)omhay, exhihits
an ensemhle of color eni^'raxin.^s of
hi.i^ii (juality.
.Seiler has returned from Holland
with a collection of laiidscaj)es on show
at the Cialerie Rocpie. Most of his work
is in sniall forniat in wliich he con-
denses a wealth of detail. His broad
patches of colour recall Bissiere.
l'eaceful Stretches of the Dutch pold-
ers with the horizontal lines of the
canals contrasted with the vertical out-
lines of a sail ov a steeple impart a
[36]
CEZANNE
Nature morte a la draperle
BERNHEIM-JEUNE
83 rue du Fg. St. Honore and 27 Av. Matignon, Paris (8)
Tel.: Ely: 54-28 Cable Address: Berjeune. Paris
Specialists in Art Books - - - Exhibitions of Modern Paintings
May I I through June 29: Exhibition for the benefif of the
"Sauvegarde de Versailles":
VOICI Des FLEURS, Des FRUITS,
Des FEUILLES et Des BRANCHES
LES VAGH WEINMANN
Exhibifed in April
JOSE De LAPAYESE
through May 9
[371
(
ß
f
epon rrom
ans
Bv Rarnktt D. Coxr.AN
Ar llie nioment tlie royal P)ritish visit
^^ to l'aris is al its iRM.^iit. In its way
it is a work n\ art. and it is concerned
larti'ely witli works of art. W'ith a
niatiic toucli tlie (hieen's presence has
at^ain broii^dit to life tlie pakices^ of
tlie Kini^s of France — tlie Louvre, Ver-
sailles and its .i;reat tlieatre. Xotre-
Dame wliich has stood finn. like tlie
En.^lish throne, for alniost a thousand
years is lit up froni without and within
iike a li.u:hthouse un a rock. The Seine
lias ajLiain heconie a royal waterway
and the capital and its fabulons his-
tory a city of the Arahian Xi^dits. One
lias only to inia,s:ine what such a visit
in a modern nianufacturinm- town w ith-
out niontniients would have been like,
to realize die vahie of art. E\eu the
crowd which was literally carried off
its feet with enthusiasni niii^ht have
acted differently in other surre )Undinii:s.
11ie masses who act spontaneously ac-
cordin*r to the coUective unconscious
niay have recojLi'nized a synihol of sta-
l)ility in a world of shiftin.^" sands.
And the great monunients of the past
also niake for this despite the fact that
nuich conteniporary art is headin,^- to-
wards disintegration in niany direc-
tions.
At such a tinie it is interestini;- to
See what has heen achieved in the last
few decades. The exhihition "Depuis
Bonnard ..." at die Musee Nationale
d'Art Moderne, which extends from
Bonnard to De Stael. affords such a
survey and allows us to detect certain
Stahle values aniidst the constant
chani^-es of the present. There are seven
paintinj^s by Bonnard. one of which,
Lc Port de Cannes has the delicate at-
inosphere of Boudin and is on show for
the tirst tiiiie. Lc salon rose of Vuil-
lard. i)ainted tifty years a.^o, is still a
rare piece of work. \Mllon has a coni-
position of brilliant coloured architec-
ture which is one of the best exhibits.
'J'here are soiiie j)owerful ])aintini^^s by
Soutine and five portraits by Modig-
liani. Rouault is well represented with
eight exhibits sonie of which are seen
for the tirst tinie. A still life of Segon-
zac has the permanent ([uality of
C'hardin. A suite of Matisse ranges
from 1(S08 to 1953. diagall P)ra(iue,
Dufy. Derain, (Iruber, Utrillo and
niuch eise composes this show loaned
by the "Societe des .\mis du Musee
d'Art Moderne." Among the i)aintings
donated by this society to the Museum
are a number l)y Nouiig artists such as
Barat, Calmettes. Dniitrienko, Fusaro,
(ianne and Jose J'alou.
* * *
'^FiiE new premises of the ( ialerie
J.eiris have oi)ened with recent
paintings by Picasso. .\11 were painted
i)etween October 1955 and Septenil)er
1956. 11ie sceiie is laid in the artist's
large salon or studio, surrounded by
die gardens of bis villa at the "Cali-
fornie" near Cannes. There are fifty
paintings in all — variations on die one
tlieme, of the studio and a niodel. Ke-
markably baro(|ue or ratlier rococo,
diey show a j)roliferatioii of detail that
recalls an Indian temple. The sign
often replaces the form, so that certain
j)arts of the canvas suggest liiero-
C341
tery e^i)ecially in tlie series of mystic
painting> sliown at the (Ialerie ("reu/.e.
That of the j)hantoni shij) is (|uite
impressive. The collection of land-
scai)es at the Lucy Krogli gallery con-
tains some idyllic scenes with tigures
and "baigneuses" on the shores of a
lake. Ilere the artist, tliough lic does
not follow Watteau or Corot. ne\er-
theless seenis to capture sc^mething of
their poetic atmosphere in h\> own
way.
t.
nPiiK Spanish artist Lapayese di>plays
^ an iiii])ortant collection of forty
])aintings at die P)ernheini-Jeuiie gal-
lery. highly imaginative in tlieiiie and
treated with decorative fantasy. The
artist has certainly mastered bis craft.
Certain of diese panels with gold iiilay
have almost a Far Fastern toucli and
the sanie can he said of some of the
portraits which remind one of certain
classic Chinese works. liis sense of
the arabescjue is likewise oriental as
well as tlie care taken with the texture
of the canvas which is worked over
like that of lac(|uer. It is an art which
sliows considerable distinction.
At the saiiie gallery can be seen a
collection of paintings by the brothers
\\agli W'einmann who are of llungar-
ian descent. Tliey coiiii)ose a triiiity
which, despite certain dift'erences,
niakes for unity of style. Tliey all dis-
play a powcrful expressionisni in
sombre tones and applied widi a thick
ini|)asto. Religious subjects, country
scenes, circus gruups are painted in a
power ful niaiiner and often with a
j)r()found sense of what is human.
Lersy, at the Galerie Fricker, is an
artist who has conie to "die front in
recent years. His art is based on a
x'igorous graphic Statement which al-
lows liim to express dynaniic scenes
such as a rughy niatcli or the movement
of winter Sports. His large canvas of
a footballer is quite impressive, füll of
(Continited on page 42)
STEPHEN HIGGINS
PARIS
19 Faubourg St. Honore
Tel. ANJou 2910
Master Drawings, Paintings
and Sculpture
Paintings by Renoir, Odilon Reden, de Stael,
Bonnard, Braque, Menendez, Maggini and Solimena
Drawings and watercoiors by Delacroix,
Corot and Juan Gris
[39]
Are/ US a: Emilio Greco
A/ the ]Nster GäHery, N.Y.C.
Standing Horse: Marino Marini
Galerie Alex Vöinel. Diissehlorf
Bihlical LanJscape: GhOKGES Rouauli
Exhihilecl at the Schone man Gallery, New York
r 40 1 =
Fen/n/e sur le Pont: R. MoNTANÄ
Galerie Paul Vallottofi, Lausanne
Dancer: Giac(3MO Manzu
At World Ho//se Gallery, N.Y.C.
Le Port du Havre (1906): Raoul Dufv
On View at the Perls Galleries, New York
[41]
I
Galerie Framond
3, tue des St. Per«
PARIS (6) Lif: 50-80
OLIVIER DECAMPS
J. BADORD
Sculp+ures
May 3- 18
31 rue de Seine
Paris 6
are bringing over for
the opening of their new
Gallery in New York
an important Group of
living Parision Artists
Galerie Suillerot
HAYDEN
Cubist and Recenf Pain+ings
8 rue d'Argenson, Paris (8)
fei.: an\: 54-88
-ROR VOLMAR—
MAURICE
BDUILLOT
RECENT PAINTINGS
May 14 - May 27
34 Avenue Matignon, Ely 47-74
CALERIES
RAYMOND DUNCAN
REPORT FkOM PARIS
(Coiitinucil froui paijc 3^|)
life witli a sense uf poise. 'Hie i)revail-
\\v^ coloiir is low in tone with .i^rey and
pale yellow but liiere are tinies wlien
as in bis lari,a^ canvas of a saxopbone
])laver. be conies to iise brilliant coloiir
constrnctively. Many of tlie larjLie still
lifes ])lanne(i witb arcliitectural order
(lisplay (piiet liarnionies sui^^iiestive ot
cbaniber ninsic.
Haydeii now sbowinK at the Calerie
Sonillerot is one ot tlie artists of tlie
"Kcole de Paris." wliose work dates as
far back as V)W. Ot Polisli descent,
be caiiie to l'aris in PK)7 and alter a
l)eri()(l in wbicli be was inUnenced i)ar-
ticiilarly by Cezanne be becanie con-
verted to ciibism tbrouKb sucb Iriends
as Juan Oris. IMcasso and Metzini^er.
Tbe present sbow contains ])aintinKs o£
eacb ot tbese periods but consists
cbiefly of bis later work wbicb is per-
ba])s not so well kiiown. In certain still
KÄTIÄ GRÄNDFF
13 QUAI DE CONTI
PARIS 6
LAPRADE
CLAUDE MONET
May - June
BONNARD VUILLARD
ROUSSEL
Selecfed Painfings
H. BERES 25 quai Voltaire PARIS
Exhibltlon from May 3 - May 30
f
I
i
I
[42]
lifes be ini|)arts a straiij;e life to tbe
simple objects dei)icted, a l)owl or a
kiteben knife. wbicb beconie si.^nibcant
like Symbols; tbe laiidscapes are like-
wise transposed in a way tbat su.c:^;ests
tbey are part of anotber world. He bas
Condensed a lifetime of researcb into
tbese paintinj^s. arrivini^- at an art of
^reat simplicity distilled as it were
from all bis previous experience.
Acbiam. wlio is >liowin.i;- a collection
of sculpture at tbe Lara Vincy i^allery,
is a Oalilean wliose art bas j:j:n3wn up
from tbe >toiies of bis native land. In-
spired by tbe substance of diese basaltic
rocks be bas carved bis fi.^ures very
mucb like tbe primitive sbepberds of
tbe Old Testament. His subject matter
— Job, David. 11ie propbet, A sliep-
berd, etc. — is treated witb a sense of
tbe block and tbe texture of tbe stone
and carved witb a feelini;- for arcliitec-
tural form.
A collection of lari^e abstract com-
(CoiitifiKcd Oll pagc 51)
GALERIE H. LE GENDRE
31 rue Guenegaud, Paris 6
from May 8 to June 8
Michel RAGON presents:
EXPRESSION AND NON FIGURATION
PAINTINGS by: Atlan - Arnal - Martin Barre -
H. A. Bertrand - Camille - Clerc - Corneille - Dey-
rolle - Doucet - Fautrier - Fichet - Gillet - James
Guitet - Koenig - Maryan - Pichette - Poliakoff -
Schneider • Soulages - Sugai.
SCULPTURES by: Cesar - Hajdu • Etienne Martin -
Marta Pan - Stahly.
IN PREPARATION: "Gouaches and Collages" by
Esteve to Sugai.
CARDO MATIGNON
32 Av. Matignon, Paris (8)
MICHEL G.GILBERT
Paintings of France and America
PAINTINGS
Watercolors - Drawings
Mav 4- 18
GALERIE FRICKER
177 Bvd. Haussmann
Paris (8) Ely 20-57
R. LERSY
RECENT WORKS
Exhibition May 10-31
MARCEL BERNHEIM
35 ru8 la Boetie, PARIS (8)
MOUALLA
GOUACHES
SURAUD
SCULPTURES
May 10-25
S M O L
Galerie Creuze
Salle Messine, 4 Av. de Messine
Mystlc Paln+ing
Lucy Krohg, 10 bis PL St. Augustin
Small Formats
Mav 10-25
[45]
cJLondon r ji
evu6 an
Bx 1 lllKACK Sllll'l'
d Wi
iew6
W^uv:\'uv.\< our in(le])te(lness is to
cliance. to tlie iMitente C'ordialc
whicli is so conspicuoiisly cordiaJc at
tliis juncture. to tlie Arts Council, or
to an amal.iiani of all tliese tliini;-s, tlie
l.ondon art workl is in predoniinantly
(lallic niood. P)y tlie tinie tliese notes
ap])ear anotlier ini])()rtant Arts Council
exliihition will be at tlie 'Pate (iallery,
this of tlic Ciu^t^eiiheiin Museum of
New N'ork: but nieantiiiie \ve liave die
lar.^e R. H. A. (ialleries showiniLi- 160
pictures on loan froni tlie Musee d'Art
Moderne of Paris, a delii^litful one of
Dra\vin.i»s l)y Ini;res froni tlie Musee
Iii.^-res at Montauban. and one of
Picasso. Ceraniics. 'bliese last two are
at tlie Arts Councibs own i^alleries in
St. janies's Scjuare. In tlie private j^al-
leries Wildenstein's have planned an
inipressive exbibition of Herain lor
]\Tay: I^utfet is to return to 'bootb's.
üben tlieir ])resent sliow " Paris- Lon-
dres" is tinisbed; and Adams (iallery
continue witli tliat j^roup of jL^ay iM-encli
Neo-Realists wlioni they liave niade
dieir own. thouj^b sonie of tbe tinest
of tbeir pictures by Montane liave K<me
to a bii^ exbibition of bis work at tlie
Calerie I\aul Vallotton in Lausanne.
Hie pictures froni tbe Musee d'Art
Moderne teil fairly tborouf^ldy tbe
evolvin^- story of tbe Scliool of l^aris,
and tbe cataloj^me niay be looked upon
as a succinct i^uide to tbe movements
wbicb liave constituted it. This, and tbe
bei pfui banjLa:inii- of die exbibition are
entirely c()ninien(kd)le. Approximately
cbronoloi^ical. tliey carry us from tbe
precursors wlio followed Seurat's at-
tempt to s^et order into lnipres>ionisni ;
to tbe Xabis witb liiie Homiards and
X'uillards; tbe b\auves wboconie rather
nobly out of tbis. tbou.iib not witb tbeir
niost b'auviste works. Derain beiiii;-
represented by an absolutely classical
bead study. /.(/ Bloudc and Dufy witb
an early rHIiu/c Strccf of VH)() wbicb
niakes bis otlier tive ])aintin|Lis look
sballow. Matisse bas an inipressive
sbowin.i;-: tbe Pccoratirc /'if/ure
iu/iiinst (in Onunnciital (iroiniil is one
of bis best paintin|Lis. So we i)ass to tbe
])oint wbere ])aintin.^- ceased to be ob-
jective and witb Cubism becanie an in-
tellectual ratber tban a seiisuous con-
cern. Picasso doininates tbe niain rooni
witb bis black i;rey and wliite Milliii-
cr's ITorkshop and bis classic .V//7/ Life
■a'ith Aut'u]]ic llcad j)icture> wbicb
niake one wonder wliy be could ])aint
tbe bideous iroinuii in HInc. P>ra(pie is
not \ery well rej)resented except by
/.(• .V(//('// of PM4. one of bis best
work^: and tbe arid disinteKi"«ilin!L;- in-
tluencc of Cubism already dates tbe
stvle. i'^-oni a ^roup sim])ly called "Tbe
Older (ieneration" tbe ])()etry (lookinj;-
a little sentimental ) of Cbairall. and tbe
Utrillo townsca])es stand out: tbe latter
])articularly lovely for tbey include
L' Im passe C oft in and T.c I Aipin Aiiilc,
surely two of bis tinest works. After
tbat tbe I^rimitives seem just silly. tbe
Surreali sts uninterestinji;- or unintelli,^--
ible, and niost of '*'J1ie ^^)un|Li•er ( Ien-
eration" of non-tijuurative ])ainters all
but nieanininless. One ratber noble ab-
stract by Xicolas de Stael, and 'llie
Library bv Vieira da Silva in lier
^P^^^PWwA-^
■■■;jti»fl*tf.t..^->«fa^- -k«^ ;^Wiw«^i:Ai^-^
Oii! cwcl OuiHces: Edward Burra
Al the Lefevre Gcillerj. London
Study of Van Gogh: Francis Bac:on
At the Hanover Gallery, London
[44]
Scinnois: Mauric:k Utrillo
Sbouii dt Arthur Tooth <unl Sons. London
[45J
h
ch.iracleristic style, a C'ar/ou in Siir-
realistic niood, and a Realist Dcad
i\)cL' l)v P>nftet. very ti^ly an^l defunct
but nevertlieless powerftil, were oases
in tlie (lesert of tlie tliird rooni ot non-
li-nr.'iiive arl. Tliis critic at least feit
il^at l'Art Moderne liad run its course.
It \va> retreshin.i;-, therefore. to i>et
hack to the .i;rass roots ot art at the
other Arts Cotincil exhibition anionj?
the Inj; res drawinKS. 11iey are more
human than the paintin.i^s which canie
froni theni. and niake one realise that
the stndv of the human fi.i^ure yields a
synthesi's ot mind. band, and feelin^-,
which has disintemrated since art
turned its hack on nature.
The exhibition ot Picasso ceramics
is not on in tinie for comnient bere,
and anvwav do not ri,i;htly conie into
"Pictures on Exhibit." but since 1 am
niterlv allerj^ic to Picasso's efforts in
this direction it may be just as well.
* * *
ANNE Said's drawin.cfs sbowin^^ at
^"^ the Heaux Arts Gallery bave a
basis ot i)aradox. Their techniqtie of
lead pencil. chiefly line but sometimes
rubbed for tone effect. used even for
a complicated subject Hl Marg cover-
injr api)roxiniately twenty-fotn- scpiare
feet. and used in a ratber meticulous
andpainstakin^^ fasbion, ^nve them an
old-fashioned air. A^ainst this stancls
a feelin.n- that everythin^^ depicted is
not (piite itself btit is in a State ot meta-
m()r])hosis. and so we are in the world
of .^urrealisni. The stran.e:e thin.i;- is
that a second look does not bear otit
this subjective interpretation : they are
])lants and bcmes, birds and sbells.
P)lake's double vision of the old man
|[rrey and the thistle across the way?
h is dit'ticult to know. Surely she means
those pots and handles half stibmer.i^ed
in the water in El Marg to evoke the
idea of beadless human forms? Httt
])erhaps thev are, after all, only aband-
oued pots in the water. The uniform
t>reyness of the i)encil work. and its
pedestrian thorou.Lihness all seems part
of the paradox of this tantalizin«:
MARLBOROUCH
FINE ART, LIMITED
Isf ivlay — ...Isf June 1957
BETWEEN SPACE AND EARTH
TRENDS IN MODERN ITALIAN ART
Sculpfure by:
CRIPPA and NEGRI
n
w
Painfings by;
AJMONE -
CHIGHINE
MORANDI
BRUNORI - BACCI - CAPOGROSSI
■ CORPORA - DOVA - FONTANA
MORENI - MORLOTTI
17-18 OLD BOND STREET
Tel. HYDe Park 6195/6
LONDON. W. I
Cables: Bondarto, London
[46]
artist. Titles like Shells l'lyiiig and
JUitlnug jtistify the Surrealist inter-
])retation : and one may assunie that
niar.i^e is not only the niari^in of a
river but of different states of bein^.
Soniethin^^ of the sanie evasive qual-
ity is always in John Arnistron^'s
work. He is sbowin.i: at the Leicester
Oallery bis recent paintinjL^s. Most of
theni are coniparatively sniall works :
a few frankly symbolic in bis nsual
style, this tinie using seated Henry
^looreisb fi^tires as Gods Adrift. Dis-
persinJ,^ Abandoned. and so forth :
others bein,ir Still Life of pots and
fruits built up with bis tisual concern
for solid form in the sul)dued colour
schemes we associate with bis work.
The sketch for the enormous ceilin^
of the Cotincil House at Bristol is
sbown and reminds us that Armstrong
bejLr'tii ^li^ career as a stage decorator
abie to desii^n for large surfaces. The
very solidity of bis style susr^ests the
nniral artist. and serves bim as an easel
artist in that an Armstrong painting
beconies part of the wall on which it
hangs.
The gallery is shared by Anthony
Gross with landscapes so reduced to
their basic C()ntt)ttrs expressed in a
network of chromatic line that they
are almost abstractions. They are most
effective in rendering wide Stretches of
open cottntry. bills and Valleys. Mr.
Bensusan- Hutt's watercolour land-
scapes in the entrance room are cbarm-
ing and scholarly, and particularly stic-
cessful when he works on a fairly
large scale.
I
N the T.efevre Gallery during May
that most able water-colourist. Va\-
ward Burra. is exhibiting a number of
very large paintings, chietlv Still Life
and' Flowers. Oi^'I aud ()uinccs the
largest of these ( it is SZyz bv 31
incbes). if not entirely typical of the
subiect matter, is a tour de force of
ARTHUR TOOTH &. SONS
LTD.
(Established 1842)
Specialists in Paintings by
OLD AND MODERN MASTERS
for Public Galleries and Private Collections
EXHIBITIONS
April 30th - May 25th BERNARD BÜFFET
May 2 8th - June 22nd PHILIPPE BONNET
31 BRUTON STREET
Cables: Invocation, London
LONDON
Mayfair 2920
[47]
tlie >lyle. M()>t ol tlie |Kiintini;s are de-
H.i;int'iilly (lecorative aiul — as \ve ex-
pect ot' P)Uira's work — liave tlie solid-
jty and >tren.^tli of oil i)aintinm* tliough
lliey are in llie other medium.
>ic «K i|i
"P \Ris-I.(>M)Ri:s" at TootlTs (iallery,
llieir anniial sliowini;- of works
recently ac(|iiired in Paris, is an an-
tholo.Liv of ,i;()()d P^rencli work. Out-
>tandin,i;- are Monet's /.i\s- I'\ilaiscs
d' l'.trctiit ( im])ressionism al ils most
et'fective ) : P)Oudin at liis most eti'ective
in ncanrillc. In riricrc inortc: Utrillo
ai;-ain witli Snniiois, 1*M1; a tiny and
ex(|uisite ( 'orot. .Irlcu.v du Xord: and,
to hrini;- tlie story up to date. Plage
diuis Ic M idi showiiiiLi' Xicolas de Stael
ni<)\ ins;' away froiii ahstraction in 1055.
The May exiliihition at Tooth's
proniises Pernard Puffet, larj^ely witli
those views of l^aris wliicli liave been
liis recent preoccupation — a ratlier
hleak Pari>. I tend to tliink, from
whicli tlie J'arisians liave wisely, to
use your laii.t;ua,i;e. abscjuatulated.
i|c H« H(
\ NKWcoMKR is Treuin ('oi)ple>tone.
wlio liad liis tirst one-man show at
tlie Piccadilly (iallery hut now lias one
at Mattliiesen's. He is a Cornishnian
and lias a metliod witli landscai)e whicli
one nii,i;lit tliink derived from Ivor
llitclieiis. hut tlien tlie suhject heconies
further ah^tracted hy an explosion of
white i)aint. The wliole effect is stiniu-
latin,^;. thou.i;li upon analysis tlie
splashes of slieer whiteiiess liave little
meaniiij^-. Occasionally wlien witli an
Intcrior they are window curtains in
sunli.^ht. all' is well. W'hen they are
out-of-doors in, say, Pcticortli Park
tliev are unconvincint;'. ^'et curiously
excitin.ii-. Is tliis the ])lace wliere
strai.^iit landscape and Tachiste art
meet? Perliai)s. Coi^plestone and dis-
cipline mi.^ht well add up t(^ (piite a
deal. An artist to watcli. H. S.
ADAMS CALLERY
24, DAVIES STREET. BERKELEY SQUARE
LONDON. W. L
MAYFAIR 2468
FIREINICIHI
DMIPI^iSSDONIDST
ALSO PAINTINGS BY
BELLIAS * LORJOU * MINAUX * MONTANE
MOTTET * RAPP ^ YINAY
I
[48]
i
Sporne cJ^ondi
on
B\ Pa IRK K I I \^ MAN
odi
er WS
T^^KAXc LS P).\coN i>. I !eel. one of the
few really ()rii»inal i)aiiiter> work-
\\Y^ in iMii^land today. liis paintin.c^s. at
times visioiiary. at times iiiacahre to
say the least of it, convey an imi)res-
sion at once ])owerful. swee|)in.^: and
courat^eous. C'oura.^eous in puttin.ij:
forth holdly an imame. wlien today
most ])ainters ahsolve themselves from
the responsihility of ima^e iiiakin.i^^
Am()n,iist the many fnie new works
in liis show at The liaiiover (Iallery
are four studies for ])ortraits of Van
Goi^ii and in tliese strauire pictures of
the tormented .^enius. P)acoii creates a
kind of iiiytholoi^y. whicli is hoth ro-
mantic. in the hest seiise of the word,
and emotionally stirrin.u. In tliese
works he uses a much looser hrusli
stroke tlian heretofore. The colour is
niore violent and ex])ressive. all this
niakinii; a niore explicit icono<iraj)liy of
his own. The result is a develoi)ment in
liis work which at times puts one in
niind of certain (ierman expressionist
painters and of .Soutine. The i)aintin.^s,
however. remain strikini^iy ori.^inal :
P)acon's ahility is on the iiicrease and
in his work one sees a lari^eness of
visioii and a mytholo!:;ic il awareness,
umisual in this centtn'y.
j|C I* vp
T3k'i Kk 1\ixij:\- at thirty-one years of
a]L;e is one of the most interestin.i;- ol
the younj^-er ])ainters workin.i;- in
J.onclon. Paintin^s in his exhihition at
Crinipel Fils consist entirely of fis:tn-es
and studies for fis^nires. In tliese near-
abstract nudes, one feels his sense of
Space, of lijuht and of colour. His paint
really works and makes manifest his
ima.i?ery. Kinley is nioviniL;- auay from
I)ure al)Stractionism and is .^oin.q- holdly
towards the discovery of a personal
LEICESTER CALLERIES
June lsf-27th
MAX
BEERBOHM
Memoria
Exhibition
IVON
HITCHENS
New
Paintings
LEICESTER SQUARE. LONDON
Cables: Ofort Lesquare
[491
THE HANOVER GALLERY
REG BUTLER
Sculpture
2 May - 14 June
32a St. George Street
LONDON. W. 1
Cables: Hanrica, London
O'HANA GALLERY
T3. CARLOS PLACE
GROSVENOR SQUARE
LONDON (Tel. Gro. 1562)
April 25th to May I5th
THREE PAINTERS
PROM VENEZUELA:
GRANADOS
HEITER
VALLMITJANA
Also
FRENCH IMPRESSIONISTS
Catalogues and prices
on applicaflon
idioin. In thi> fruitl'ul appro.'icli l:e
\]u(\> :i \v:iy ol' ret.'iininK tlie formal
(|iialitics ()\ bis earlier work wliile de-
\el()i)iii,ii" a new pictorial sense in liis
painliniL;'.
An artist whose work is i^radnally
coniin-- to the fore is David Tindle.
llis work (sliown at the Piccadilly
( 'rallery ) ])articiiLarly tlie three very
lar.^e canvases ot tlie Tlianies. sliows
a looser and inore expressive liandlin.i;
of i)aint and oi colour than fornierly
was tlie case. Other new ])aintin,i;-s,
niainly of Soottish fisliin.!^- villa^es and
little roniantic ports like Arbroatli lind
Tindle at bis niost recei)tive. His feel-
inii" for place is borne out in tbe six
])aintini;s wbicb be was conunissioned
to paint in 1956 by The Royal Librar-
ian. of Windsor Castle and W'indsor
J*ark. These now han^- in tbe Royal
Librarv at W'indsor. Tindle was born
at lliiddersfield in 1932.
The ])aintin,^s of I^nrico 15aj strike
a sonibre. conteniporary note in bis
lirst exhibition in lMii;lan(l. P>aj bails
froni Italy. froni the industrial city of
Milan wbere he was born in 19J4. Ilis
l)aintinjL;s which declare both the .i^rav-
ity and .qaiety of our world in a decora-
tive nianner contain a so])histicated
approacb with a seasonin.^;- of abnost
every known style froni colla^e to
tacbisnie. In 1952 be was one of the
Promoters of the Nuclear Movement,
a movement which he nanied himself
as a kind of visiial ex])ression of spon-
taneous style, held to^etber witli dots
and streaky lines of paint bearin.e: a
reseniblance to action paintin.L;-. P)ai has
been showing- at Oallery One.
John Read has made a number of
brilliant art lilnis in recent years for
Tbe H.n.C. Television Service. .Some
of bis best are sbowin.g- in New N'ork
at the Third International iMlm b'es-
tival at the Metropolitan Museum. One
of tbe best of Read's filnis is bis most
recent work on tbe paintinj^^s of L. S.
T.owry, the fanious seventy-year-old
Lancashire i)ainter known for bis in-
i
[50]
(lustrial townscapes. of bizarre build-
inj»-s and little people burr\in|Lr about
the streets. He adds to a keen sense of
human di,i,niity. a ma.Liiiiticent feelinj^
for tone and colour. Read's otber fibns
include ones on (irabam .^^utberland,
Stanley .Spencer and John Tiper. I*. H.
* * =H
REPORT FROM PARIS
(Continiicd from pagc 43)
])ositions by tbe American Jenkins. at
the (lalerie Stadler, sbows that the
artist has evoked from bis earlier
j)aintini;- towards a wider and more
rhythmic phrasinf^»- in v.bich dark and
li^ht contrasts of fulj^ent matter j^leani
witb the vivid intensity of an atomic
explosion. jenkins is evidently .^aiided
by the spirit of our tinie to exj)ress a
World of inner cataclysms.
Maurice l-Jouillot is an artist who
for many years has lixed in the coun-
tryside and ^rown tlowers near J'aris.
As a fiower j)ainter he is one of tbe
niost orii^inal. Havin.q- made a s])ecial
study of occult natural laus and the
jL^eometric forms that g-overn plant
life, he lias achieved a series of dower
I)aintin£;-s which are in many ways
cpiite new. His landscapes luider snow
are tbe most subtle of tbeir kind and
worthy to stand beside tbose of .Sisley.
His ])resent display at tbe Ror V^olmar
^allerv is a verv genuine contribution.
An ini|)()rtant exhibition of Bonnard.
Vuillard and Roussel is on sliow tbis
nionth at tbe Galerie Ha.^uette Heres.
The P)()nnard paintin.o^s rani^e from
Tlic Portrait of J^niUard's Motlicr
(1<S<)4) to tbe Paysa(/c du Cauct
(PHO). Tbe Vuillard paintin.ti:s from
a still life (1888) to a fine pastel
Claycs dated 1935. Roussel 's paintin,t,^s
extend from 77/t' Craiidiuotlicr (1888)
to La Sourcc of 1925. Tbis show in-
cludes well over tifty paintini^^s, draw-
iniis and pastels by tbe three "Xabis"
and is intended to show bow near the
three artists were one to anotber.
(Coiifijiucd on paqc z>^)
THE LEFEVRE
CALLERY
Still Life and
Fiower Paintings
by
EDWARD BURRA
30 BRUTON STREET
LONDON, W. I.
BEAUX ARTS GALLERY
PAINTINGS BY
CYNTHIA PELL
also
PICTURES FOR GALLERIES
May. 1957
1-7 Bruton Place. London, W. 1
BERRY-HILL
Calleries
PAINTINGS
ANTIQUITIES
743 Fifth Avenue. N. Y. 22
t5»l
ijn (Lxklblt In Lj^
ermaniA
/,'v IniiN Anthony Thwauks
T^ins was such n brilli.int nionth in
i Cennaiiv, botli lOr old and modern
art. tliat l' sliall liave to deal witli
cvervtliinn- in tele.^ra])liic >tyle. Munich
retui-ned to ihe lieadlines in botli tliese
fields: with the (iabriele Muenler lie-
(luest of earlv Kandinskys, sliown at
the Municipal (iallery in the Lenhach-
iKdais; the exhibition of Kenibrandt
(h-awinus bv the Staatliche (;rai)hi>che
Sannnluni^-; and the Lei;er i':xhd)iti()n
at the Haus der Kunst.
The Kan(hnsky collection l)e.^ins
with fittv-ei.^lit early tenii)eras and ods
Ol 1901-7. One sees the influences ot
the Impressionists. Van Go.oh, Corintli
and abov^ all the Juj-endstil. art nou-
veau Then come forty oil paintni.iis ot
the Murnau i)eriod (1908-11). where
the movement towards abstraction is
alreadv clear in the tlattenin^- out ot
ti-ures and objects into colour areas
and the tendencv to a relatively simple
Palette based on l)lue>. yellows and
o-reens. The twenty-two ,i;lass panitmj^s
ot 1909-14 are rather disappointin.^- m
their qualitv, but they do show the im-
portance of this art for Kandmsky s
develoiMuent. The Asiatic nitluence,
too. which came out so clearly towards
the end oi bis life, here shows its head.
Then comes the clon ot the P.eMuest:
twentv oils ot the P>laue Reiter i)eri()d
(10ll'-14). These contain the drama
ot Kandinskv's breakthrou.^h into ab-
stract art and they include some major
works of middle size. One extraordin-
arv paintin^ is the I luprovisatiou No.
]() (1911), which contains representa-
tional fi^tu-e studies in line with colour
absoluteh free. The etYects in blue
monochrome are near to those which
such voun.i;- Paris i)ainters as N ves
Klein are trving for tcukiy. Ihe P>e-
,|uest is rounded ott with fourteen
watercolours and drawinj^s froni 1911
to 1014, colour-\voo(lcuts froni 1901 to
1911 and etchin.i»s of 1016.
Hj * *
Ar.üUT the Leger exhibition 1 need
^ say little here. for it repeats almost
exactlv that at the Musee des Arts
Decoratifs in ]\aris last year. One feit
depressed again that one of the real
iiiasters of the iirst half-century could
liave fallen to the banality of Lcger's
last ten vears . . . 'Hie (iraphische
Sammlung claims no more for its Reni-
brandt exhibition than "a sort oi e\n-
logue to The Rembrandt Vear ot 1956".
hr return for its own loans to other
nuiseums last year. it has borrowed im-
l)()rtant items f rom Amsterdam, Perhn,
Hamburg, Rotterdam and Stockhohn,
as well as from private coUections, to
add to its own considerable ])ossessions.
The result is a show of thirty-nine of
Rembrandt's drawings, with twenty-
six more of uncertain authorship and
tifty-seven etchings froni his band.
The show has a (|uiet power— and ex-
traordinarv actuality. The whole ot
later art is ccmtained here: Fragonard,
Manet. Kokoschka, right down to the
dynamic line of Hans ll.artung in (mr
own dav.
* * ♦
DrssK.LUoKF has also had iniportant
shows, of an old and of a modern
master. The Staedtische Kunstsannn-
hmg has been showing the exhibition
of '^Johann TTeinrich ITiessli (alias
[52]
"ITiseli") a»enibled by the Pro Hel-
vetia l'^oundation. It is an excellent rep-
resentation of the oeuvre. Of the oils,
there are tive early work>, before
17S.^. including the tirst study for the
\i(jlitinarc. There foUow thirty-six up
to the end of the Century and half-a-
dozen after it. with the Xifjluinarr in
its la»t phase. L'nfortunately. as a
ITiseli scholar poiiited out to me. there
are also two oil studies (Comhat hc-
t7<'ccn HiuilisJnucii aud Oricntal
rinitcs. c. 1/95) which are certainly
not lui-eli. hl addition there are some
lumdred drawings. from all his jieriods
and including all his theines ; though
here again there is a sli]), a Fernst and
Mcf^histo (c. IcSOO) and a Girl comb-
iiKI her fhiir, 7^vU'hcd by a Hoy (c
ISIO) which are not Ftiseli btit Theo-
dor von Holst.
In the contenii)orary tield, Alex
A'oeniel continues his series of brilliant
iiiiniature> ( following the Klee draw-
ings and the hronzes of Alatare) with
Marino Marini. Of the nineteen
bron/e- from 1940 to 1050 only a
Stdudi'nn n'oinuii (1945) is of much
size. but ahiiost all are tirst-rate in
(lualitv. One sees the iiiHiiencesiMail-
lol in' the earlv nudes. Picasso in the
Acndntt with 'cliild (1051). (haconi-
etti in the Standiiu/ Horsc of the saine
vear. a i)iece of extraordinary intens-
'ity. And in the three Miracics (1954-
5') tliere is a transcending of the object
and almost of the material form which
1 found exciting indeed.
T_^^VKK >ince the exhibition at the Oer-
^^ manische Xationahnuseum in Xur-
emberg entided Auf(iau(j der Ncuccit
in 1952 and the much larger show.
'*n^-iuniph of Mannerism" at thejjijks-
museuin in Amsterdam in 1955, the
Mannerist painters and sculptors of
the i)eri(Kl 15J0-U)40 have come into
fashion in nuiseum circles here. Ihe
exhibition at the reorganised Museum
in Ldm of the Orzimek Collection was
signiticant. The (irziniek faniily have
been collecting for thirty years, spe-
DR. WERNER RUSCHE
COLOGNE • BRAUNSFELD
WIETHASESTRASSE 22
(GERMANY)
Härtung
MANESSIER
SINGIER
SOULAGES
Paul Klee
Galerie Aenne Abels
Wallrafplatz 3
COLOGNE
Sermany
MODERN PAINTINCS
SCULPTURE
GALERIE THEO HILL
COLOGNE, SERMANY
Schildergasse 107
ERICH HECKEL
E. L. KIRCHNER
O. MUELLER
SCHMIDT-ROTTLUFF
[5}]
Galerie
Alex Vömel
Düsseldorf, Germany
Königsallee 42
Jawlensky - Klee - Marcks
Marini - Matare - Sintenis
and others
GALERIE
WILHELM GROSSHENNIG
Kasernenstrasse 13
Düsseldorf, Germany
• French Impressionists
• German Expressionists
"Bauhaus" "Brücke"
"Blauer Reiter"
MODERNE GALERIE
OTTO STANGL
JAWLENSKY
KANDINSKY
KLEE
MARC
HÄRTUNG
POLIAKOFF
SOULAGES
ZAO WOU-KI
MUNICH - MARTIUS-STR. 7
Kunst Kabineh Ruhm
Munich
ORIGINAL WORKS AND GRAPHICS
ALWAYS IN STOCK BY:
Archipenko. Barlach, Baumeister,
Beckmann. Feininger, Heckel,
Hofer, Jawlensky, Kandinsky. Klee,
Lehmbruck, Macke, Moholy-Nagy,
Otto Mueller. Noide, Rohlfs,
Schmidt-RottlufF.
Franz Joseph Strasse 9/1
Tel. 36 15 88
ciaH^ini: in tlie Northern Mannorists
and e^pf.'ially in I^'rans Floris ( Ant-
werp 151<^-7()) by wlioni tliey have
t'ourteen works. The coUection is coni-
])lete(l hy JL^roiips of paintin^s attrihnted
to niasters froni the i)eriod ])ef()re
1500. h\- Moris' C()ntenii)()rarie>, by
l)ainters of ihe Munich. Pra^ue and
tinally of sonie French, Spanish and
Utrecht ^chools and others c.l6()0, and
Italian Mannerists ])r<)U.i^ht in to liive
points of coni])arison. It is a notable
|)rivate collection for these tinies. al-
thou.^h niany of the attribiitions seeni
to be rather niisure.
H
H^ -i* T^
A\iXG shown the leadin.^- dynaniic-
abstract painter in 1 fans ITar-
tun.e:. the Kestner-desellschaft in
Ilanover now has a rei)resentative of
what have been called the jrontalicrs,
the frontiersnien of conteniporary art.
(Instave Sin.^ier is not perha])S the
leader: P>azaine and Manessier could
certainly dispute tlie claini. P)nt he is
a tlne ])ainter and shows the trend.
He.uinnini^- ([uite ()p]H)sed to abstrac-
tion. he is forced j^-radually by sonie-
thint;' in the loi^ic of the tinie onto
that bridi^^e which Paul Klee built.
One end is ancliored to the object. to
the sense-inij)ression. one Stretches
to that other veri;e which Kandinsky
hrst reached. In this journey Sintrier
took on with liini (pialities from Ma-
tisse. P>onnard and that tradition of
decorative art which reaches back to
tlie Windows of Chart res and P)ouri;es.
:|c $}: >|C
ÜOLF Cavaet. has kept up the notable
inii)rovenient in bis work which
was shown in bis New York exhibition
last season. He has alniost eliniinated
back.i^round colour froni the oils he is
showin^ at the (ialerie Parnass in
Wuppertal. This leaves bis linear ^iii•ns.
as crisp as a steel sprinjjf, to echo back
in independent colour patches towards
infinity. His indian-ink (lrawin.i^^s, bunt;"
in the other rooms. are a deli^dit. Plis
use of the hiero^lyi)hic and of vibra-
i
[54]
tion and the sj)ace-tcnsi()n of lii^ >ur-
faces. niakebim alniost the onK- painter
of hi> .i^-eneration ( b. IXOS) of real
conteniporary interest in ( lerniany.
Quite a .^roup of tlie under-thirty
])ainters traxelled to Wuppertal for the
openin.i;-.
'Coiilriir :'rraiifc — Irhcndif/c luirbr'
is the proinisinm- title of tlie b'ranco-
( ierinan exhibition at the \\'ie>l)aden
Aruseinii. It is annonnred a^ "the lirst
major deiiionstration of the 'neu', the
'other' art in (leriiiany;" and Hirector
Dr. Weiler is proud to say he picked
it all h inisei f. and ()aid for it from his
mu.seum funds. A wortliy thrust
a.^'ainst niuseum oli.ii'archy : but the
Director sliould have learned bis sub-
ject tirst. He has filled his show with
Parisians of .i^reat insiiLi"nilicaiice ; but
be shows no Wols. no Mathieu, no
DubulTet. no Is'iutrier. no Michaux and
no Riopelle. Only P)ryen is a wortliy
and Serpan a stimulatinj^' painter,
while Viseux and Georj^-es iiiay be in-
terestiniL;- in a few years time. The
German section was no better. save for
ci m'ood tenipera by .Sonderbori;' and a
.c^'roup of forceful and somctimes bril-
liant ])aiiitin|L:s by b'red Hiieler —
huddled to.juether in the furthest and
the darbest room.
* * *
"J'lie rest of the exhibitions which
crowd in I can do liardly more than
list. The Kunsthalle in P)reiiien is
sbowiiii;- the ( ierman Roniantic ])ainter
Friedrich Nerly (1807-78). wlio from
1828 until the end of bis life worked
in Italy. This show is based on a lari^e
collection of drawin.^s and oil sketches
ac(|uired by tlie Museum four years
a^-o and Stresses the early and more
creative j)eriod . . . The Czwiklitzer
.^allery in Coloi^ne has an exhibition of
International Surrealisni. with paint-
in^s by Arp. Rrauner. Chirico. Max
Ernst. Maiiritte. Picabia and sonie
others . . . The In.i^e Alilers Gallery in
Mannheim exhibits throu.^h May a col-
lection of Oskar .Schlemmer: sixteen
oils and a dozen watercolours . . .
ä^l'iM''
; '
ti
RAOUL DUFY
"Vernet-Ies-Bains"
MODERN FRENCH PAINTINGS
ROUAULT • GAUGUIN - MATISSE
Renoir • Lautrec - Picasso
Dufy - Vuillard - Bonnard
Dalzell Hatfield Galleries
Ambassador Hotel, Los Angeles
the«tt»estudioUd.
•- Künv o ne>^
is openinq «n m^y .^^
c.„d »«^^«'•X"'o7 briUiant
»"^ *'^arf.sts and sculptors
younq artisTs .
at . • • '
. • •
openmg show
ARTEMIS
JEGART
C»l
^^,
KLEE ^^
\\^
^^^
o
^^i^
/
«>
MIRO
<?:,
^s
;•
^N^
A^^
.c=
>
S
>.
V
/
/,
o
ROSENB ERG
and STIEBEL, Inc.
PAINTINGS
OBJETS D'ART
32 East 57th Street. New York
GOLDIE'
May 6- 18
LIPSON
Paintings
Sculpfure
Prints
barzansky galleries
1071 madison avenue at 81 st.
(iuenther Franke in Mnnich lias fol-
lowed a sliow of tlic t'ij^ure sculptor
(iustav Seitz, lately returned froni tlie
D.D.R.. witli one of Xaver Fuhr, an
l''\l)ressi()nist ol tlie second ij^enera-
tion. l'^uhr lias irreal decorative (|iiali-
lies and is in no sense an epi.ii:one . . .
Tlic I-'rank furter Kunstkahinett of
Hanna l'ecker vom Rath lias. as 1
write. just opened tlie first private ex-
liihition of (irahani Sutlierland. It con-
sists niostly of drawini^s and .c:ouaclies.
witli a few oils and a .^-roup of etcliin,{:is
. . . Tlie Kunstverein in Düsseldorf lias
been sliowin.ir F'elix Vallotton ( 1865-
1025). unfortunately witli an enipliasis
on later paintiiii^s. Tt will be foUowed
hy an exliibition of P)ernard P)uffet
wliicli just niisses tliis Report . . . Tlie
Haus am W'aldsee in P)erlin lias a
j^rou]) of live l)erliii i)ainters, all rela-
ti\elv yount^-: Arno. P)aclmiann. P)er,^--
niann. Koet^ier and Winter-Rust . . .
Tlie losef ]^\'issbender — Hann Trier
sliow is now at tbe Municipal Museum
in Wuppertal- I^^lberfeld . . . The new
( ralerie fuer Moderne Kunst in Haii-
over oi)ens witli Hein/. Troekes. The
Hans Hartuiiii- exliibition is now at tlie
Staatsiralerie in Stutt.i^art . . . Ha.^en's
Karl-I^rnst-Osthaus Museum is sliow-
ini; Werner Scholz and the active little
Zimmeriialerie l^-anck in iM-ankfort,
ir. P:. Kalinowski . . . The Xolde
Memorial exhibit opens at the Kunst-
halle in Hamburg on April 28th and
will be dealt witli in my next report.
I^nallN . there are a series (Ä exhihi-
tions of irrai)hic work. of which 1 must
.i^ive a bare list. The comi)lete ,ura])hic
work of joan Miro, at the Museum
Haus Lanme, Krefeld: Masters of the
[a])anese Woodcut. at the Museum
in Lübeck; drawin.^s by Ciacoiiio
Mansu at the Staatliche r,ra])hische
Sammluntr. Munich : contemi)orary
iM-ench .t;raphics at PTella Nebeluni;-,
Düsseldorf; "F'oeuvre Cn-avee. ( l'aris-
Zurich)" at the Kunstkabinett Klilim.
Munich: 1^. Mueller-Kraus (Sweden).
Watercolours and ( '.raphics. at the
Keoi)old-PToesch-Museum. Dueren. Of
[5^11
old-master work, ('. ( ). Boenier. Düs-
seldorf, is >howin,i;- "Drawin^s from
h'our C enturies", includinjLi early (1er-
man. 17th Century Dutch. some 18th
Century drawin.^s and sonie by the
( iernian Romantics. The Kun>thalle.
KarlMuhe. lia> the wiiidow desi^ni^ ^>f
(Tri>t()pli Murer ( 1558-1614) ; and the
( iermanisches Xationalmuseum. \u-
remberiLi:. a fascinatinj^ collection of
IM) drawini;s and i)ritits and over a
hundred other documents, froni the
liii^ii Middle Ai»es to the niiddle of the
PHli Century froni Colo.^ne to Koenij^s-
beri^- and the Hansa cities to the Harz.
The title i> "C'ultural Documents of
Northern (iermany." J. A. T.
* * *
XOTFS. Two museums in (Iermany
have just added paintini^s by tlie late
P^rencli arti>t Manessier to tlieir col-
lections. The Kunstballe at Hanilmri;-
bou,t;ht the Pete cu Zcclami, and the
Kunsthalle at P)remeii y^oi a l'urris
Pavidica. Hotli works were accpiired
from the Werner Kusche liallery in
(*()lo,i;ne.
May 13 ' June 8
MOTHERWELL
Sidney Janis - /5 E 57
PAULINE
STEIGERWALD
OILS • May 13-25
LYNN KOTTLER GALLERIES
3 East 65 St.. N. Y.
FRENCH & AMERICAN
PAINTINGS
HARTER! galleries
PORTRAITS, INC.
PORTRAIT CENTER OF AMERICA
I U, F ^7TH STREFT, NEW YORK
I.ois Shaw Heien Appf.eton Read
FRKNCH & CO.
f( A T E ü
one of the world's
most extensive and distinguished
collections of art
210 EAST 57th ST., NEW YORK
NIVEAU
CALLERY
Modern French Paintings
Bought and Sold
962 Madison Ave. (at76St.) N.Y.
REgenf 7- 1094
[57]
ROME. ITALY
SCHNEIDER ART GALLERY
(American Management)
RAMPA MIGNANELLI 10
On stairs behind fhe American Express
Director: Dr. Robert E. Schneider
A reliable Consultant
for coliectors of
selected contemporary
painting
and
sculpture
GALLERIA
VIA BRERA 14. MILAN
Ainione - Baj - Birolli - Borra - Cagli
Campigli - Cappello - Carra - Cassinari
Consagra - Corpora - Crippa - D'Angelo
De Chirico - De Pisis - Fabbri - Fiume
Fontana - Gazzera - Giovanola - Guidi
Manzi - Migneco - Mirko - Monachcsi
Morandi - Music - Musso - Peverelli
Prampolinl - Rosal - Sassu - Severini
Sironi - Valenti - Vedova - Zuffi
One-Man and Group Exhibitions
Cafalogues sent on request
ki^i'ORT FROM r.ARIS
iCoiitinucii froin pagc 51 )
l'allyaiiis who is showiiiiL:- at tlie
( lalerie j.''.C(|ues Duhoiirj^- and at the
(iaieric Mouradiaii-X'allotton is of
( rreek orimin and niany iA tliese can-
\ases were j)ainttMl in (ireece. Ile is
the cast' of an ahstract j)ainter wlio has
.t^Tadiially conie to stress tlie lisL^iirative
Clements in liis work. so that t!:e niost
recent painting- hroii^lit back l'roni
(ireece evokes the onthne of nioinitains
and cvpresses in a senii-ahstract stvle
wliich certainly is attractive, (Ireece is
a land of crystal clear li^iit and Cally-
anis siiffnses his paintini^s with this
siKer white atniosphere.
**l'k'iisir de La Peinture" is the title
of a very interestinjn' exliihition which
nins thron.L^di this nionth at the ( ialerie
Daher. It contains j)aintin|Li:s hy Corot.
Delacroix. (iericault. Comhet, ln,<^res,
Renoir. h)n]Likin(l. P)ondin, Monticelli.
Araillol, Puvis de C^iavanne and nnich
eise. .\nion]L;- tliese are the i)ortrait of a
l^^ranciscan nionk hy C'orot and a
Sf^riiuf lAiiidscapc hy Monticelli that
are very rarely seen, so that the show
is well worth a visit.
"Pes Peintres Tenioins de lein*
'renij)s" are lioldini^- their annnal salon
at t'ie Musee (ialliera. Sport is the
thenie this year. There heinj^" near to a
hundred artists. there is a ^reat \ ariety
of suhjects. ran!^in,i4' front foothall and
GALLERiA
CADROILÄ
VIA SPIGA 30, MILAN
Tel. 794286
CONTEMPORARY
ITALIAN MASTERS
Paintings - Sculpture - Drawings
[58]
horse racinj.;" to ])oxins^, niotor racinj:^'
and hidl ri.^-htinj4-. Marcel (liniond in
his hust of an athlete strike.s the tra-
ditional note of Maillol and Desi)iau.
A lari^e boxinj^f rini;" in oranj^'e yellow
by Connnere is a tour-dc-fonw Ciw-
ton. Pressniane. Van Donjen, Fonta-
narosa, each in his own way, treat the
sanie thenie. Wrestlin^ is presented in
a cindous fiision of Ivist and West by
Foiijita: Toffoli, (ini.^nebert and Col-
laniarini treat the sanie thenie. Volley
ball and basket ball have inspired Ber-
nard Puttet to a beacli scene and
Yvette Aide to a lari^e canvas. botli
colonrful and robust.
65th Annual Exhibitlon
National Association
of Women Artists
May 9-26 (closed May 18)
NATIONAL ACADEMY GALLERIES
1083 FIFTH AVENUE, AT 89th STREET. NEW YORK
Hours: I to 5 p.m. Demonstrations
LA MEDUSA
GALLERY
124 VIA DEL BABUINO Tel. 680850
ROME (Itoly)
CLAUDIO ALBERICO BRUNI, DIR.
AGKNT FOR SADUN
WORKS OF DE PISIS - GUIDI
MANDELLI - MORANDI - QUAGLIA
ROSAI, ETC.
GALLERIA BERGAMINI
CORSO VENEZIA. 16
MILAN. ITALY
Works of
Boccioni - Campigli - Carrä
Casorati - De Chirico - De Pisis
Morandi - Rosai - Sironi
Soldati, etc.
GALLERIA
ÄVDCLI©
Carlo Cardazzo. Dir.
Agent for
BACCI - BURRI - CAMPIGLI
CAPOGROSSI - CRIPPA
FONTANA - GENTIUNI
MUSIC - SCANAYINO
also works by
Balla - Motto - Brouner • Jörn
Itallan Futurist and
Metaphysical Painters
VIA MANZONI, 45
MILAN, ITALY
In Rome:
Galleria Seiecto. via Propaganda 2
In Venice:
Gollerio Cavoliino. San Marco 1820
galleria pater
works of:
AFRO
BIROLLI
CAPPELLO
CASSINARI
MUSIC
VALENTI
Via Borgonuovo, 10 Milan, Italy
GALLERIA ANNUNCIATA
VIA MANZONI 46, MILAN • Tel. 791102
ITALIAN & FRENCH MASTERS
CAMPIGLI
CARRA
CASORATI
DE CHIRICO
DE PISIS
ROSAI
SIRONI
TOSI
[59]
ART STUDENTS
LEAGUE OF N. Y.
announces Summer Schools in
Woodstock. N. Y.. and
New York City
June 3 — August 30. 1957
ynstructors in Woodsfock
Arnold Blanch
Edward Chavei (July only)
Zygnnunt Menkes (August only)
Frank J. Reilly
Instrucfors in New York
Charles Aiston
Richard Bov6
Dagmar Freuchen
Morris Kantor
Bernard Klonis
Frank J. Reilly
drawing painting
Illustration anatomy
fashion Illustration
FÜLL OR PART TIME REGISTRATION
Write or phone for free catalogue
Stewart Klonis, Director
215 W. 57th. N.Y.C. CIrcle 7-4510
PENNA. ACADEMY of FINE ARTS
PAINTING - SCULPTURE
MURAL . ILLUSTRATION
Scholarships (European Study)
Degrees
Write: R. K. ENTENMANN
Broad and Cherry, Phila. 2, Pa.
CLEYELAND
Institute of Art
PROFESSIOMAt/ c«toU»»»
TRAININGI II44I juNIPIR RD.
I CL I VILAND 6, ON lO
PKPA'II'ANS IX Xi:\\ >()Klv
i^Coutiuncd froiii paijc })\ )
\ i.i.XA NDKK Cankdo. I.'ist seeii in New
^ ^ NOrk in 1*MS. lias brou.L^lit froni
C'alifornia (wherc 1r' now lives) a
liToup Ol' ])aintini;s and ])encil (lra\vin.irs
wliicli wcrc ])nt on cxliibition at tlic
Zodiac ("lallery. Cancdo i> a virluoso
Ol" tlie pencil medium, bis draw ini;s ol
nude> liavc a tonal ^uavity and meticu-
lousness tliat seeni to be an end in
tliemseKes. Seasca])es are too fastidi-
ously Innislicd to be convincin.in- : tbe
l)est of tbe oils is l'orcst — a bisb mass
of i^recn fobaj^e batbed in Inminous
air/ " C\Z. ().
* * *
r^()\.\)\v: Lii'sox's ])nsy ^incbo bas
^ ■* ])oured out i)aintin.üs. linoknim
])rints. and sculpture for ber latent
sbow at tbe Pjar/.ansky (lallery. 11er
niajor effort is in ])aintin|Li- — two do/.en
oils tbe best of wbicb are on familiär
subiects like tbe ])leasin,ii- ilower ar-
= PAINTINGS BY ALEXANDER I
I KINC I
= May 6-18 ä
I CHASE GALLERY |
= Now af New Locat/on: s
= 29 E. 64 ST. LE 5-3991 =
Jaenisch
EXTENDED TO MAY 31
KLEEMANN 11 E. 68
Summer Session June 24-Aug. 3
Courses for students of painting, sculp-
ture, weaving, metol smithing . . .
country atmosphere . . . pool . . .
CRANBROOK Academy of Art
107 Academy Rd., Bloomfield Hills
Michigan
[60]
raniiement. Wcdijwood, wbere ber
sonietimes Horid color bas l)een for-
ttniately restricted to tbe blue .t^n-eens,
and in l'lic Lake l'rcczcs Orcr wbere
ber wbite impasto belps us sense tbe
trodden snow. Tlie fiele] of sculpture
bas been entered witbi facility Imt
witbout particular distinction. |. (i. P>.
W^issw. P)()KNK Shkrman's luipres-
sionist watercolors render seasbnre
and (lesert cactus seenes witb no at-
tempt at startlini,^ eftects. Her portraits
are in tbe realistic style, too. Probably
tbe most promisini^- work in ber sbow
at tbe P)nrr (lallery is Car(/o, ;i simple
but nKnnunental conii)()sition in cbar-
coal. Openin^- ^Tay 5. R. b.
:}s * ^5:
A '\\rN.sTUAr. Show" at tbe lUnr
^ Crallery brou.^iit to|[i-etber tbe sensi-
tive, almost (lotbic sculpture. Af
Praycr, by tbe Rev. Antbony Lauck ;
IV.iriU'y ^b'is.>on's delicate marble Picfa:
a softdni'jd mos'iic bv Ratberine T>.
SOCIETY OF
YOUNG AMERICAN
ARTISTS
April 28 - May 19
RIVERSIDE MUSEUM
i||||||||||||||||03rd St. & Riverside DrivellllllMIIIIIII
2nd
GROUP
SHOW
Ecole de Paris
Paintings
COIGNARD
First U. S. Show
April 29 - May 19
COLLECTOR'S GALLERY • 49 W. 53
Clara Onievsky
Gertrude Stein Raffel
Nelson Rodrigo
To May II
LYNN KOTTLER GALLERIES
3 East 65 St., N. Y.
Points of View '57
David LUND
Alex KATZ
Burton HASEN
Raymond ROCKLIN
Israel LEVITAN
May 6 - June I
Associated American Artists
712 Fifth Avenue
i:Lior
Recent Watercolors
0'IIAKx\
to May 4
Grand Central Art Galleries, Inc.
15 Vanderbilt Ave.. N.Y.C.
BURR GALLERY
108 W. 56 ST.. N. Y. 19
Winnie Borne
May 5- 18
SHERMAN
E. & A. SILBERMAN
GALLERIES, INC.
1014 MADISON AVENUE
NEW YORK 21
JOHNNY May 1-31
FRIEDLAENDER
Etchings
WEYHE794Lex.Ave., N.Y.
[61 ]
Exhibition of Watenolors • May 7-17
EiLEEl\ and FUEDERIC
WIIITAKER
in «o-operalion >vith The Spanish Institute
Grand Central Art Galleries, Inc.
15 Vanderbilt Ave., N. Y. C.
Pain+ings by
M. PADUA
+0 May 21
VAN DIEMEN-LILIENFELD
GALLERIES • 21 E. 57 St.. N. Y. C.
DEHNER
SCULPTURES and WATERCOLORS
May 7-31
WILLARD • 23 W. 56
Winner of fhe I 8f h Annual ACA Competition
» .DREYFUS
and Gallery Group Show
May 13-25
ACA GALLERY • 63 E. 57
Paintings by
l SCHAMES
S May I - May 16
N ESTE GALLERY
32 Eost 65th St. 10-6
GALLERY 32 E 65
JACK LEVINE
Heydert; (iuidn Borj^lii's iion-ohjective
Bcqinuinq: the ,i,-ay. tolk-artish Trcc
of^Lifc bv Mickey Falkenberi;- Wiv^-
staft; ami Patricia Allen's coniixKsi-
tions in baked pkistics, anion.i;- which
the literally haiit-relief Xaturc's Ca-
tJicdral was intri.i;iiin,i;- as well as
sj)intual. ^^- ^ •
* * *
JOHN (Ittman's watercolors will be
at the C'ollector's (lallery froin May
20th to june 7th. 11 is subjects— Taxco.
for exa*ni])le — are conscientiotisly
transfornied iiito vertical pattenis of
an an.^ular stnicture .uenerally dehned
by heiivv black lines. The work based
Oll the Colosseuni has .^reater variety
and cohesion. Uuppy Touii has a niore
personal air. ^^- '*• *^-
in ^ ^
pAi'LiNK STEKiKKWALn a])])ears to be
^ fascinated bv the sparklin.i;- li^iits
of :\ranhattan ät ni.iiiit. rellections in
the Käst River, the .^reat brid.t^es and
skyscrapers. She also depicts ^roups of
Student Work from: May 19- June I
DORD FITZ
SCHOOL OF ART • Amarillo, Texas
Burr Gallery, 108 W. 56, N. Y.
JOHN
May 20 - June 2
CUTMAN
First One-Man Show Paintings
COILECTOR'S CALLERY * 49 W. 53
May 7 - June I
RUTH WHITE GALLERY
New works by
BERNSTEIN
CROOKS
FINK
GELB
GIBBS
SKALING. etc.
42 EAST 57th ST.
N.Y.C.
[62]
sailboats and trees. Her teclniiciue.
however, is as yet not ecpiai to her In-
spiration. At the Lynn K ottler (lal-
leries. ^- K.
* * ♦
q^o i'.K RKXiKWEi) NKXT MoxTH because
^ the work was not available in tinie
for previewinii" in this issue : Shirley
J)reyfus at the A.C.A. Oaller\ ; jack
I.evine at the Alan Ciallery; Texas
Students at the F>urr Clallery; ( iuest
]^:xhil)ition at the Downtown : Pre-
Colunibian Art at the newly oj^ened
Furnian Oallery; Max Ernst at the
Tolas Gallery; Robert Motherwell at
the Janis Gallery : Jonniaux portraits
at Kennedy's; Contemporary Sciilpture
and Watercolors at Knoedler ; 14
]\ainter-l'rintniakers at Kraushaar :
Artemis Je.i^ert at the Little Studio;
25th Anniversary Exhibition at the
Midtown Gallery; ^^allery ^roup at the
Milch Gallery; NatT Association of
Wonien Artists at the National Acad-
eniy ; *iV)rtraits in Review" at Por-
traits, Inc. . . . "Hommaire a Kahn-
weiler" at Saidenberg- Gallery; Vin-
cent Glinsky, Paulette Cohen and ''Ful-
brii^ht Sculptors" at the W'ellons Gal-
lery; Society of ^'ünnjc: American
Artists at the Riverside Museum; D.
S. Badue at The Contemporaries.
ALEX CERUZZi
MORTON HOLLINGER
May 1-15
PIETRANTONIO
26 E. 84 St.. New York
Ist American Exhibition
May 9-30
IRVING
Until May 29
MARANTZ
Drawings
BABCOCK GALLERIES
805 Madison Avenue (68fh St.) N. Y.
= PAINTINGS BY
WM. =
MEYEROWITZ
May 20 - June 8
CHASE GALLERY
Now of New Locatfon:
29 E. 64 ST. LE 5-3991
oils • sepias • drciwings
Marc
KOVEN
To May 1 1
LYNN KOTTLER GALLERIES
3 EAST 65 ST.
•■ May 6-25
"NEW WORK
LOUIS
MÄRISOL
ORTMAN
RAUSCHENBERG
BLUHM
BUDD
DZUBAS
J. JOHNS
LESLIE
SAYELLI
LEO CASTELLI • 4 E. 77 • 2-6 p.m.
TARRAGONA
thru May 18
SUDAMERICANA
866 Lexington Ave. (65 St.)
GALLERY
ABIDINE CROUP
c a d a n
150 EAST 78
gallery I jojm heller
u/.ol/4< in.$ Sun. 3-6 ■ 9
gallery
6 3 E . 5 7
[63)
DOROTHY
HOOD
drawings
+o May 18
DUVEEN-
HGRAHAM
1014 MADISON AVE., N. Y.
modern and
traditional
frames
expert
restoring
the house of
heydenryk
141 w. 54$t.,n.y.
new
thru May
print
acquisitions
DEITSCH C ALLER Y
51 EAST 73rd STREET, N. Y.
The DOWNTOWN
¥ ¥ ^CALLERY
32 East Bist Street New York
Edith Gregor Holpert, 0/recfer
ÄMi^DCÄlNI
DRAWINGS ART
MAY EXHIBITIONS
IIV NEW YORK CITY
(Continued from inside front cover)
PARKE-BERNET, 980 Madison Ave. Oid
Masters. 19th an«! 2()th Century Pamtin^'s.
May 4-S ; Graphics. May 1-9: KriKÜsh and
Amerit-an Furniture, Decorations and Paint^
in^rs, May 1 1-17.
PASSEDOIT, 121 E. 57 St. J. M. Hanson. to
May 2') ; W. G. Crovello, from May 27.
PEN AND BRUSH. 16 E. 10 St. Watercolor
Kxhibition.
PETITE. 129 W. .>6 St. F. Bosc. to May 4; M.
Frary. May <i-lS; 5 Texas Artists, May 20-
June 1.
PERLS, 1016 Madison Ave. Pascin and School
of Paris ; to May 18.
PIETRANTONIO, 26 E. 84 Sl. Ceiuzzi and
HollinKer. May 1-15.
PORTRAITS. INC., 136 E. 57 St. Portrait« in
Review, May 14-June 4.
PUBLIC LIBRARY, Fifth Ave. and 42 St.
Prints of "Birds and Beasts".
REHN, 68.3 Fifth Ave. R. Mintz, to May 18.
RIVERSIDE MUSEUM, 310 Riverside Dr. Soc.
of Younjr American Artists, to May 19.
ROERICH, 319 W. 107 St. C. Schwebe!, to
May 2<>.
ROSENBERG, 20 E. 79 St. F. Farr, Sculpture,
to May 4; French and American Paintin^s.
SINCE 1918 — THE FINEST IN
CIHIDINIIESi ÄIR
C. T. LO©
FRANK CARO. Successor
41 East 57th Street
New York, N. Y.
Telephone
Plaza 3-2166
LEONOR
FINI
to May 15
GALLERY
30 E 75 ST NY
[64]
SAIDENBERG, 10 E. 77 St. L. Chadwick, to
May 11 ; HommaKe ä Kahnweiler, from May
13.
SALMAGUNDI. 47 Fifth Ave. Annual Watcr-
c(dor Show, to May 21.
SCHONEMAN, 63 E. 57 St. Rouault Paintin^^s,
E. Wcill Sculpture. to May 15.
SILBERMAN, 1014 Madison Ave. Old and
Modern Masters.
ST. MARK'S CHURCH, Second Ave. and 10 St.
Lower Kastside Artists, to May 2G.
SUDAMERICANA, 866 Lexin^ton Ave. M.
TarraKona, to May IS; I^atin American
Groui), May 2()-June H.
TANACJER, 90 E. 10 St. :^-Man Show, to May 9.
THEATRE EAST, 211 E. 60 St. J. Ri^^aud. to
Mav 2(i.
VAN DIEMEN-LILIENFELD, 21 E. 57 St. M.
Padua. to May 21.
WELLONS, 17 E. 64 St. Fulbrik'ht Sculidors,
to May 4; V. Glinsky. May (5-18; P. Cohen,
May 2')-June 1.
WEYHE, 794 Lexington Ave. J. Friedlaender.
May 1-1^1.
WHITE, 42 E. 57 St. Gallery Group. May 7-
WHITNEY MUSEUM, 22 W. 54 St. H. Hof-
mann Ref rospective ; Recent Accessions, to
May S.
WIDDIFIELD, 818 Madison Ave. Pre-Columb-
ian Gold and Jade, to May 18 ; A. Peck, Apr.
2l-June 15.
WILDENSTEIN, 19 E. 64 St. L. Quintanilla,
to May 11 : M. Gold, to May 18.
WILLARD, 23 W. 56 St. I). Dehner. May 7-31.
WORLD HOUSE, 987 Madison Ave. Manzu, to
May 18; Bourdelle, Japanese CalÜKraphy,
May 21-June 22.
IFI^IilNlClhil
IPÄIIN1TBIM€
cyLiPiyi^
of the 19th & 20th Centuries
FINE ARTS ASSOCIATES
41 East 57th St. (I6th floor) N.Y.
EXHIBITION OF
IMPORTANT PORTRAITS
BY
ALFRED
JONNIAUX
through May
Kennedy Galleries • 785 Fifth Ave.
2^4U May 7 - June 8
ANNIVERSARY
EXHIBITION
MI DTOWN
GALLERIES • A. D. Gruskin. Dir.
1 7 East 57fh Street. New York City
IILIII^ 4i;allerie%
0»» Fiflli A\e., New York
(/Veai* 5^1/1 Si.)
to May 18
DANIEL
May 13-31
SERRA
BADUE
THE CONTEMPORARIES
992 MADISON AVENUE AT 77 ST.
JULIUJ^ LOW¥
Frame & Restoring Co.,
Ine.
I'tlUOn FRAMES
iiEsianmc
l'ddü ümiiiiil Avü,, Muvv Yiiik
(Bet. 64th and 65th Streets)
LE 5 - 5250
NEWHOUSE
GALLERIES, INC.
Fstablished 1878
Still Life: Flowers
by Ernst Stuven (1657- 1712)
FINE PAINTINGS
(3 EAST 57th STREET
NEW YORK
k PAINTINGS FROM SAO PAULO MUSEUM ^ GUGGENHEIM AWARDS
ON EXHIBIT
WORLD
WIDE
VIEWS
af the
ART
SHDWS
>^äis:" :4ki^ 1^. %
APRIL
1957
35c
vJN
^C^f^^J
■ *»■ . ^Sr;
APRIL EXlllBITIOi\!^i
^n If {ew {yjom L^iti
'i
A.C.A., 63 K. 57 St. Croup, to April 20; W.
(Jropper, April 22 - May 11.
ALAN. 32 E. 65 St. li. Tarn, tu April 13;
(iioup, fioni April IT).
ARTISTS', 851 LcxiiiKlon Ave. E. Snüth. to
April 18.
ART STUDENTS LG., 215 W. 57 St. Anmial
Student Concours.
BABCOCK, 805 Madison Ave. (i. Hoiulius, to
Ai)ril 13; l'Jth and 2()th Century Americans,
April 15-30.
BARONE, 1Ü18 Madison Ave. lt. Kuntz, to
April 6.
BARZANSKY, 1077 Madison Ave. F. L. Mes-
sersmith, April 1-13.
BERRY-HILL, 743 Fifth Ave. ll»th Century
American "Troinpe L'Oeil."
B'KLYN MUS. OF ART, Kastern Tarkway.
Watercülors in U.S.A. anU Italy, irom Ai)ril
Ü.
BODLEY, 223 E. 60 St. (iardner, April 1-13;
E. Erlanger, April 15-27.
BURR, 108 W. 56 St. Mystical Paintinus, to
April G; Dahli-Sterne, April 7-20; (Jroup,
April 21 - May 4.
CADAN, 150 E. 78 St. R. (Jates, to April 6 ;
C. Cloos. April 8-28.
CARSTAIRS, 11 E. 57 St. M. (Irosscr, to
April Ü ; V. D. Truex. April ü-27.
CASTELLI, 4 E. 77 St. C. Viseux, to April 13 ;
P. Brach, from April 15.
CHASE, 21 E. 63 St. I. Nurick. April 1-13; J.
Kronman, Ai)ril 15-27.
CHINA INSTITUTE, 125 E. 65 St. Chu Art.
CHURCHILL, 139 Broadway. A. Schwieder, to
April 13.
COLLECTORS, 49 W. 53 St. 4 Contemporaries.
CONTEMFORARIES, 992 Madison Ave. Mar-
ini, April 1-27.
D'ARCY, 19 E. 76 St. Piiniitivc Art.
DE AENNLE, 59 W. 53 St. Muro and (hilo,
April 8-27.
DEITSCH, 51 E. 73 St. Recent Print Acquisi-
tions, April 9-27.
CONTEMPORARY ARTS, 802 Lexington Ave.
M. Jones, to Mar. 5; W. Story, April 8-lU.
DOWNTOWN, 32 E. 51 St. (Jallory (Jroup.
DELACORTE, 822 Madison Ave. Peruvian Pot-
tery and Textiles.
DUVEEN, 18 E. 79 St. Old Masters.
DUVEEN-GRAHAM, 1014 Madison Ave. A.
Rus.sell, to April 13; C. (Jross, Apiil 15-
May 4.
EMMERICH, 18 E. 77 St. Abstract Art Before
Colun.bus, from April 15.
EGGLESTÜN, 969 Madison Ave. R. Stark,
Apiil .S-2Ü ; A. Lenn^y, April 22 - May 4.
FEIGL, 601 Madison Ave. A. Galdikas. to April
13 ; Contenii)orary Paintin}j:s, April 12 -
May 15.
FINDLAY, 11 E. 57 St. French Paintings.
FINE ARTS ASSOCIATES, 41 E. 57 St. Lan-
skoy, April «J-30.
FRIED, 40 E. 68 St. A. Yunkers. to April (J ;
Xceit)n. from April 1).
(iALLERY G, 200 E. 59 St. H. Adrian, to April
«; : (lallery Group, April l)-27.
(JALLERY 75, 30 E. 75 St. liouvier, to April
20; L Fini, from April 22.
GRAHAM, 1014 Madison Ave. Saints in Art,
to April 15.
GRAND CENTRAL, 15 \ anderbilt Ave. (huim-
hacher. to April (i ; R. Philipp. April Ki -
May 4 ; E. ü'Hara, from April 23.
GRAND CENTRAL MODERNS, 1018 Madison
Ave. li. Browne, to April 18 ; A. üsvor,
April 23 - May 8.
GUGGENHEIM MUSEUM, 7 E. 72 St. Inter-
national Awaid Winners.
HAMMER, 51 E. 57 St. Dietz Edzard, to April
13; M. Salinas, Ai)ril 16-27.
HANSA, 210 Cejitral Park So. L. Brody, to
Apiil 14 ; J. Follett, from April IG.
HARTERT, 22 E. 58 St. M. Becker, April 1 -
May 4.
HELLER, 63 E. 57 St. A. Redein, to Apiil G;
E. Treccani, April 9-27.
HIRSCHE & ADLER, 21 E. 67 St. Modern
l'aintinK's.
lOLAS, 123 E. 55 St. Magritte, to April 15.
JACKSON, 32 E. 69 St. P. E. Borduas, to
Ai)ril G ; (Jroup, April 9 - May 4.
JANIS, 15 E. 57 St. <S Americans.
JEWISH MUSEUM, Fifth Ave. & 92 St. Young
Americans.
JUSTER, 154 E. 79 St. Dauchot, Ai)ril 10-30.
KENNEDY, 785 Fifth Ave. J. Connaway, H.
Lane, to April 20.
KLEEMANN, 11 E. 68 St. H. Härtung, to
Apiil 13 ; H. Jaenisch, fiom April 22.
KNOEDLER, 14 E. 57 St. Joseph Pulitzer, Jr.
Collection, April 10 - May 4.
KOTTLER, 3 E. 65 St. E. Y. Tashjian, A|)ril
1-13 ; R. D. McKinney, L. Delgado, April
15 - 27.
KRAUSHAAR, 1055 Madison Ave. J. Penney.
y\pril 1-20; John Heliker, April 22-May 11.
MARINO, 46 W. 56 St. 3 Artists, April G-27.
MARCH, 95 E. 10 St. (Jroup, to April 18.
MATISSE, 41 E. 57 St. Modern French Paint-
ings.
MELTZER, 38 W. 57 St. (Jroup, to April 15.
METROPOLITAN MUS. OF ART, Fifth Ave.
and 82 St. Paintings from Sao Paulo Mu-
seum ; Tessai-Tomioka, from April 4 ; Rodin
and French Sculi)ture, from April 2() ; (Jreek
Vasos ; Ancient Egy|)tian Royal Treasures.
MIDTOWN, 17 E. 57 St. H. Koerner, to
April G ; (Jood Drawing, A|)ril 2-27.
MI CHOU, 36 W. 56 St. K. Choy Ceramics.
MILCH, 55 E. 57 St. L. Bosa, to April 13 ;
J. Whoif, from April 15.
MORGAN LIBRARY, 29 E. 36 St. Treasures
Preserved and Interpreted.
MUSEUM OF MODERN ART, 11 W. .53 St.
Recent American Acipasitions, to April 21 ;
International Travel Posters, to April 7 ;
Buildings for Business and (Jovernment, to
April 28 ; New Talent, from Ai)ril 15.
NAT'L ACADEMY, Fifth Ave. and 89 St.
American Watercolor Society, April 3-21.
NEWHOUSE, 15 E. 57 St. Old Masters,
NEW SCHOOL, 66 W. 12 St. S. (Jordin Sculp-
ture, April 1-15.
NIVEAU, 962 Madison Ave. Modern French
Paintings.
(Continued on page 04)
KNOEDLER
Established 1846
LOAN EXHIBITION
OF
PAINTINGS, SCULPTURES
AND DRAWINCS
COLLECTED BY
Louise & Joseph Pulitzer, Jr
jov the benefit of the
Fogg Art Museum at Harvard University
APRIL 10 - MAY 4
14 EAST 57th STREET
LONDON
NEW YORK
PARIS
[1]
WILDENSTEIN
& CO., Inc.
THE WORLD'S FOREMOST SELECTION
OF OLD AND MODERN
OBJECTS OF ART
^
PAINTINGS
SCULPTURE
FURNITURE
TAPESTRIES
19 East 64th Street, New York
[2]
[3]
"Clarinette, flageolet et flute'
EDZA
"Fleurs et Musique"
to April 13
HPmmER GPLLERIES
51 EAST 57th STREET
NEW YORK 22
[*)
Londofj Editor
HORACE ShFPP
Siviss Editor
Maria Nf.tter
CHARLES Z. OFFIN, Editor-in-Chiej
Paris Editor Milan Editor
Barnett D. Conlan Tristan Sauvage
Holland Editor
CORNELIS DOELMAN
German Editor Mexico Editor Boston Editor
John A. Thwaiies Muriel Reger Robert S. Taylor
New York S/aff: Ralph Fabri. Althea Loshak, Helen De Mott. Ai. Xewdill
Vol. XX, No. 7
/;/ T/j/s Issue
Piet Mondrian, the subject
of two important exhibitions
in Paris, is disciissed by our
critic in that city. See page 28.
Mario Morandi, the Italian
artist who has been in seclu-
sion for several years, exhibits
bis latest work in Roine (see
page 50) and also has paint-
ings on vicw in London which
are discussed on page 38.
Seventy New York Exhi-
bitions are previewed by our
staff. Page 12.
The picture on the cover
is Litfle Girl with Sheaf of
Com, painted by Renoir in
1888. It is included in the
loan exhibition of 75 paint-
ings from the Sao Paulo,
Brazil, Museum of Art now
on view in New York at the
Metropoh'tan Museum.
April, 1937
CONTENTS
Paintings from Sao Paulo Museum
Gug^'cnheim International Awards .
Gallery Previews in New York
Report from Paris . .
London News and Views
Some London Modems
Exhibitions in Germany
Report from Rome . .
Here and There . . .
6
10
12
28
36
43
46
50
58
April Exhibitions in New York City
Inside Front Cover
PICTURES ON EXHIBIT is published monthly except
July, August and September by Pictures Publishing Com-
pany, 30 Hast 60th St.. New York 22. N. Y.. U. S. A.
Telephone PLaza 3-6381. Single copy 35 cents. Yearly
subscription $3.00. Foreign $4.00.
The magazine cannot assume responsibility for the
return of matcrial submitted. Re-entered as second cla$$
matter November 8. 1946, at the post oflice at New
York 1, N. Y., under the Act of March 3. 1879.
[5]
I^aintii
Inas tmm
9
J^ao
au
L
viSeviyvi
Ayi Astouish'ing Ach'ievenient In a Single Decade of Collect/ng
JUST as thc many thousands of
Europeans were astonished at
thc magnificencc of the loan exhibi-
tion from thc art muscum of Sao
Paulo, Brazil, whcn an important
selection from its collections toured
thc European capitals last year, so
too will New Yorkers find a treat
in Store for them in its current
presentation at the Metropolitan
Museum of Art.
When the Sao Paulo Museum of
Art was founded in 1947 the only
other art museum in existence in
Brazil was the National Museum in
Rio de Janeiro established in the
19th Century and possessing nothing
that could be considered of first-rate
importance. \w the short Span of ten
ycars thc museum of Sao Paulo,
sparked by thc dynamic efforts of
Senator Assis Chateaubriand (now
Brazilian Ambassador to Great B rit-
ain) , Walter Moreira Salles ( former
Ambassador to the United States),
and with the sympathetic encourage-
ment of the Brazilian government,
it has built up such a süperb collec-
tion of both old and modern paint-
ings as to command attention.
The works of art so quickly assem-
blcd give evidence that Brazilian
culture, like our own, has deep
roots in European civilization and
like the strikingly progressive archi-
tecture of Brazil, the coUcction also
shows that its people participate
fuUy in thc modern spirit.
The seventy-five paintings in the
special loan exhibition arc about
cvenly divided between outstanding
old masters of various European
schools, starting with the l4th Cen-
tury Florentine Bernardo Daddi, to
a brilliant galaxy of 19th and 2()th
Century French paintings. In the
lattcr group arc no fewer than eight
major works by Renoir, five oil
paintings by Cezanne, four by Tou-
louse-Lautrec, two by Gauguin;
three by Van Gogh, etc.
Important schools of Northern
art are also well represented — thc
Flemish by Memling's V'/rg'in. St.
John and Three Holy Wonien, and
Rubens' fine portrait of Arcbduke
Alber/ of A/zstr/a. From the German
school are portraits by Lucas Cran-
ach the Eider, and Hans Holbein
the Younger. A Self-poiträit by
Rembrandt and three likenesses by
Frans Hals constitute an attractive
group of Dutch paintings.
Works by Spain's greatest artists
include El Greco's Annunciation, an
imposing painting of The Count
Duke of Olivares by Valazqucz and
three revealing portraits by Goya.
[«j
"■■>•,...,
*#»» ;
P(i//l Alex/S Reüä':)ig <i McJi.'/scnpt to Zntr.: CV-ZANM-
Ou Exhihil dt the Metro pol '/(an ?Auseuni of Art. Wir York
Lo.uK'd W; t!ic Sao Paulo, Brazil, Mu:>cum of Art
f / I
: ?*;.-, ;äai1S6^«
Portrait of an Officer: Frans Hals
ShoiDi dt ibe Metropolitan Museum of Art, New York
Loancd by the Sao Paulo, Brazil, Museum of Art
I. S f
Pr'iucess B/hesco, 1912: Edoitard Vuillard
On View at the Metropolitau Museinii of Art, New York
Loancd hy the Sao Paulo, Brazil, Museum of Art
I )
/
ennenn
^nt
tlonal ^^ujards
ernauona
All Prize-W^/fuiers ctnd Cctrnl/clctle Selections Go on View in New York
\ KTi-R hcMring so much for the
^ past ycMr about thc labors of
thc various national juries for thc
lirst Guggenheim International
Competition — and their selections
for thc winners of the nineteen
National and Continental prizes (a
cash prize of Sl, ()()() was awarded
to cach sectional winner by its own
Jury), and then finally the award of
thc $1 (),()()() International Prize, by
thc international jury, to Ben Nich-
olson of England — we are now
afforded thc opportunity in New
York of seeing the prizc-winning
selections, as well as morc than sixty
of the original candidate selections.
These paintings are now on view
in the temporary quartcrs of the
Solomon R. Guggenheim Museum
at 7 East 72nd Street. The exhibi-
tion includes all of the cighty-four
paintings that first wcnt on display
— following the announcement in
Paris of the avvards — at thc Musee
d'Art Moderne, except for four.
Because of the limited wall spacc
in the present quarters, the current
shoM ing includes in its initial pres-
entation eighteen sectional prize-
vvinners plus as many of thc candi-
date selections as could beeffectively
installed. Every two weeks or so,
the candidate selections will be re-
placed by an ec|ual numbcr of others
Lintil all of them will have been
siiow n. llie eighteen sectional prize-
winners, whose paintings will re-
main on view throughout the exhi-
bition period, are: Herbert Boeckl
(Austria), Rene Magritte ( Bel-
gium), Candido Portinari (Brazil),
William Ronald (Canada), Alej-
andro Obregön (Colombia), Jens
Sondegaard (Den mark), Marcel
Gromaire (France), Georges Bou-
zianis (Greece), Emilio Vedova
(Italy), Kazu Wakita (Japan),
Corneille (Holland), Jan Cybis
(Poland), Walter Bodmer (Switz-
erland), John Bratby (United
Kingdom), Mark Tobey (U.S.A.),
Petar Lubarda ( Yugoslavia), Hans
Härtung (Europe and Africa), E.
Pettoruti (No. and So. America).
As to the style of the work shown,
it is very varied and could not be
interpreted as representing the domi-
nant trends in the respective coun-
tries, but rather the taste and prcfer-
ences of cach of the national juries.
As a matter of fact, within cach
national group of candidate pictures
( hve for each country) there is
considerable Variation of Standard;
and as was observed wdien this ex-
hibition was first unvciled in Paris,
the national groups that stand out
best for consistcncy of quality are
those of Belgium and Ginada.
(tol
Le.\- Miro/rs: Vii-:ira da Silva
Exhihhed at the Solof//oii R. Ci/i^i^e)ihe/f>i Mnseuni, \tu York
' y ,
[11]
Lj aller
"i
mviews m
V {ew
B) Thi; Magazin h Staff
T;)i RIO I.\Ki)i RA. llali;m niodcrn sciilj)
^^ tor iiow li\ iiig in Paris, lias liis first
American cxhibition ai kiiocdlcr's
(tlirougli Mardi -iO). aller a nimibcr ol
exhibitioiis tlnoughoui Luiojk'. Forin-
erly norking in a varictv ol niatcrials
includiiig stoiu- aiul wood. hc is at prcs-
ciit coiKcntraiing on (oiistiiulioiis in
slict't nietal. The bhu k ol iioii and tlic
^variu brown shccii ol (oppci arc
brought iiito uxtural imcrplay as tlie
gconietrical .slia[K's inttrscct and bal-
ance onc anotlu'i in \aiioiis spacc-
(Uttiiig coidiginaiions. Sonu' look likc
lantastic sliip pioptdlers or airplanc
tails lorniab/cd into ingcnious ck'signs.
It is sculpturc (Icfiiiiicly related to tlie
lornis ol nieclianital propulsion, al-
tlioiigh the end result is niore a geo-
iiietrv than a rush ol spa(e.
c:. z. ().
^ ^ ^
OtV£MV paiiuings, sculptures and
*^ drawings Irom one ol the grcat pri-
vate collections ol modern art in this
eoinitry — that ol Mr. and Mrs. [osepli
Pulitzer, Jr. ol St. Louis— will go on
\ie\v on April lOth at Knoedler's. Mr.
Piditzer, grandson ol the lanious
lonnder ol the St. Louis PostÜisImich
and the old Morning World ol New
^'ork, got his art education and col-
lectiiig impetus at Harvard Univeisity,
and from the beginning lias souglit out
major "works, particularly of the School
ol Paris. Phe selection to be shown at
the Knoedler Gallery will inchide, how-
ever, a lew iniprcssionists and late I9th
Century post-impressionists, several Ger-
man expressionists and a tonteniporary
Itaüan. Sonie f)r the Avorks have been
shown previously in New \'ork in vari-
ous iniportant loan exlnbitions, but
tliis is the first time that the I^ulitzer
(C)llection will be exhibited in New
\'ork. Ihere will be an admission
Charge ol (iO cents, the proceeds going
to the logg Museum, Harvard Uni-
versity. Ci. Z. C).
# * #
JACQi Ks Lu'CHir/'s exhibition of
"semi-auloniatic " sculpture at the
line Arts Associates was (ertainly in-
triguing. lor it so beautilully illustrated
ilie working ol the nnconscious and
the irrational in modern art. A release
Irom more intellectual. controlled for-
mal problems, they are marvelously
lluid and dance-like conceptions and
their imagery at times bordering on the
grotescpie is filled with Preudian fan-
tasy. l'his irrational play is deceptive,
however, lor dose Observation reveals
many touches ol the classical and the
willed. Ihough all ol these pieces are
small in scale, IJpdiit/'s remarkable
sculptural leel lor volume and lorm
manilests tremendous plastic vitality
and monmnentality. Several classically
coniposed (ubist pieces dating back to
1915 make an excellent loil lor the
\il)rant emotionalitv ol the later works.
A. N.
# # #
A kriiUR Osver's latest exhibition at
^^^ Grand Gentral Modems reveals
hini tiniiing clinuuticaliy to the ab-
strad. Ihis showing ol his work con-
tains what the artist himsell relers to
as personal landstapes — adroitly
c«i
DUVEE N
Est. 1869
MASTERPIECES
of
PAINTING
SCULPTURE
PORCELAIN
FURNITURE
TAPESTRIES
GOTHIC • RENAISSANCE
EIGHTEENTH CENTURY
DUVEEN BROTHERS, INC.
18 East 79th Street
New York 21, N. Y.
(13]
biuslu'd. lioL (oloic'd (amascs ^lowini;
with thc piiiiitcrs aroustcl response tu
thc liglit. sj)a((' :iik1 iimbiciKc ol an
Italy tliai he apjxars cxdtinoh lo
havc clis(()\c'ic(l, or pcihaps ifcoMicd
in Iiis own sc'k'(ti\c' idioni. 1 he rcla-
ti\cly sniall l ji (Uun l)(ii^u(i is i^ra\(' and
\il)rant. J hc aptly naiiicd I.ox'c Gar-
(l('7i, in warm colors, sccnis harcly to
rcvcal natural lorins cnicrLiinii as
llnougli a (urrcnt ol dxnaniically re-
lated j)lanc's anci cm ves. G. S.
* # #
Trvl\(; kRiisiii.RG's ingcnuitv in |)ro-
^ vidiujf thc potenlial lor sixteen ])ir-
tnres in one shonid not he dismissed
as a ginnnick. Momited t^so and two
on parallel posts. eadi ol the lour
doid)le-side(l panels composini» a sinj^^le
^vork call l)e rcvolved on its a\is to
hring its voso into the c()ni])()sition of
the other three. 'J'he spectator at the
I)n\een-C;raham (;allerv can dierefore
inakc for hinrself his j:)referred eoniposi-
tion ol "I.overs"— as iiiost ol these
gronps are tilled — hringiiig the ahstract
fignral IVagnients and geslures into new
sets ol' rclationships. A serioiis look
shows that the coniposiiions are sensi-
tively studicd, thc liiie and nioiitages ol
colorecl canvas aiithoritatix elv handled.
\. W. L.
# * •
\ T7ILLIAM Gkar and Sandra lii.ow, iwo
British artists on view at the Said-
cnherg Gallery, work cjuite dillerently
from one anodier and yet share a com-
mon intellectual approach. Miss Blow
iitili/es a collaji^e tedinicpie ol plastcr
and paint conihined with bmlap. The
seeming irrational content oi her work
is arrived at through too strong a sense
ot style and reasonecl control. which
suggest that she is niore inventor than
Creator. Gear uses hoth tlie geonietric
and thc free h)nn. A leeling ol inystery
pervades his oils, cspecially those wherc
hc pc:)scs a hlack fluid shape against
liatly paintcd grcy or red grounds.
Gear's Vertu ai Ufiity, a restrained
ccmiposition ol rcctangidar units, is not
only a handsonie pictiire hut heautihd-
W
1\ artic idattc! spatially. A. N.
lP TP "Jr
T ^w (:it\n\Mc:K. the 1- nglish artist
"'who took thc (irst pri/c for scnlp-
tmc at ilie \'enicc lÜcnnial last year,
will ha\(' his first Anieiiran solo ex-
hihition .11 tlu- Saidenberg Gallerv
starting April S. Fornis that suggest
giant moths and grassho|)pers, or in
oiie's lervicl iniagination seem likc fan-
tastic batnicn. filling the gallerv with
their startling \isitations, introduce a
Ircsh a))pi()ach to thrcc-dimcnsional
iniagerv. 1 hc cast iron with a mottlecl
patina ol whitish grcy looks morc likc
ficld stone than inctal, conjnring up in
thc scidpturcs on displav a petrified
h)rcst ol \vcird gargantuan insccts on
some ])lanet yet to be \ isited bv ontei-
spacc loannng nnssiles,
C. 7. O.
# * #
JoRiA) Molsi: Gai.i.i RH s is showing
for the hrst time a serics of paint-
ings by the scnlptoi Krancusi, carlv
drawings bv Ciaugnin. aiicl fiftccn sniall
Rodin sculptnrcs. 1 he Brancusi paint-
ings, in the sanie pericct simplicity as
his scnlptnrc. steal the show. Thev are
largcly poi traits and figures of the carly
1920's in t\vo or three caith colors re-
minding one of Ah)cligliani and the
Matissc ol lidlhcvs.
Selections front sketch books of the
(Kopenhagen |)eriod re\cal C»auguin's
sensiti\ itv h)r drawing in sniall delicate
^\orks. a lew in pastcls. Pains havc bccn
takcn to nionnt thc Avorks tastefully
and thcy are displayed in the interest-
ing intcrior architcctural setting of
Kicsler and Hartos. Unfortunately at
thc timc at previcwing therc was no
opportiinity to scc thc Rodin sculp-
tnrcs. j. G. ß.
* # #
/^HAki I s Shaws new abstract oils, on
^ view at thc Passedoit Gallery be-
ginning April 8. are his most cvocative
works to clatc. (:once|)iually they are
inuch frcer, allowing thc romantic na-
turc of his painting inipulsc to prcdoni-
inatc morc fully. (iconictric Clements
[14]
of his carlier work still cxist. bnt are
niore intuitivcly grasped as in his paint-
ing Red-Tan lUack-White. Othcrs likc
ihc outstandi ng Hurrica nc's Wake
eincrgc froni landscaj)c commitinent:
they are most reuarding for their elo-
cpicnt simplicity and control of thc
form, A. N.
• • •
r^iETZ Edzari) has come over froni
*^^ Paris with his cxhibition of still
life paintings cntitlcd ''Fleurs et Mu-
siqiie" which was shown to the delecta-
tion of Edzard adniircrs in Paris,
(olognc and London, all of which ex-
hihitions havc bccn reccntly discussed
in these pagcs by the forcign editors of
Pktures on Exhibit. Now installed at
the Hanmicr Galleries in New York,
these canvasses of Mo/artian insj^ira-
tion combine lelicitouslv a pa<'c of
sheet music. a itiusical instrument (a
clari nette or a Inte), and soinc flowcrs
either in a vase or lying casually on a
table. In Sonic, thc llowers doininate
the coriiposition; in othcrs it is thc
nuisical instiuincnt that plays thc scjIo
part to thc surrcjunding delicate ac-
companiincnts; thus with numerous
variations on the central theme, and
the artists cnitivated ])crsonal leeling
h)r color harnionies and brushwork, the
pitfall of monotony is avoided and the
decorative cpiality is liftcd to a level
of scnsual beautv. G. Z. O.
*
T71GUT Ami;ric;ans at the Sidncy Janis
^ gallery features the work of some
of our most iniportant and intcresting
abstract painters, and practically all in
good form. Guston 's new work indi-
cates further conccptual change as his
color has become bolder, morc definite
in shape. and his images are slowly ex-
panding from the center to the edges
of the picture. Kl ine and cleKooning
are represented by strong, forccful
wT^rks of mastcrful simplicity, while
iMothcrwell steals the show with his
rcally stnmiing Elegy to the Slmnish
Hepuhlic XXXir, 1953. Light filled,
Rothko's large abstraction displays his
firsf Exhibifion in America
LYNN CHADWICK
RECENT
SCULPTURES
April 8 - May 4
Stranger
SAIDENBERC GALLERY
10 EAST 77th STREET
NEW YORK
[iJl
acute scusitivity to color and lo shilting
plastic rclationships which aie alniost
inipciTcptiblc. The theoretical specu-
lations oii the s(juaie by Albers siill
seeiii like lorinal exercises to this re-
viewer aiul leave hiiii little rooin lor
estlu'ti( enjoynient. A fine Gorky and
roINulv are also iiuludecl. A. N.
TT W ^^
T ouis BosA has tweiity-two oils, the
resuh ol a recent trip lo Italy and
Spain. at tlie Mildi Gallery. These
new (amases are niore restraincd both
in (olor and niood than his })ievious
work. Ihe laniiiiar coniic figures re-
tain tlieir warnitli and wit, bnt seeni
less (arieatural. He paints the Italian
lan(ls(ape bustling with people. A
j)aiiitinjL; ol sun bathers wearin« paper
noses recalls the |L>rotes(pie drollery of
the 18th Century Venetians. Ale Again
is the engaging title of a lumiiious
self-portrait. Verona, a vertical conipo-
sition, superposes fishermen, houses
and a mountainside in the artist's
(liara( teristie harnionies of blue, piuplc
and pink. FT. I). M.
# # #
T^KNK Magritte, veteraii ßelgian sur-
^^ real ist. appears here as a \ isionary
gnome, creating historical aiul visual
puns that express not so niuch humor.
as poetic nostalgia. In f.a I.rirendc des
Siecles, lor exaniple. a (hair in the style
of the "Roi Soleil" rides tin\ and insig-
nificant on a massy stone seat ^^'ordly of
Uranus. Pandora's Box shows an end-
lessly dull townscape against \\hi(ii are
silhouetted "Everynian", |)resunial)ly,
in his bowler hat — and a waxen white
rose. Kvcryman and derby recur else-
where; and syniboli/ing the poetry that
niay lurk in the ( lerkly or schoolmaster-
ly heart. a ereseent nioon Stands over
his head. People in business suits be-
conie ])oeked-stone nionunients: the
deviee ol a piciure within a picture
appears under dilterent guises. At the
lolas Ciallery April 7tli through 3()th.
A.B. I.
• • •
Oaims in Ari. ihe thenie show at
Janus Graham (iallery. ranges in
tinie Ironi the l.Sth to the 18th cen-
tnries. and in painting style from the
antheniicallv austere religious impact
of the earlier epo(hs to the lush, füll
bodied and sonietinies unsaintly saints
depicted by the painting virtuosi of the
lenaissance and post-renaissance peri-
ods. Simon Vouet's .S7. Catherine is a
beautilnlh drcssed woman. and a 17th
(cnturx \'enetian .S7. Miehael is an opu-
lent nobelman. Monsu Desiderio, the
(Iramalisi in paint, is represented bv a
pair ol \i\id stenes relating to the
niartyrdoni ol St. Agatha. In this ex-
hibit ol twenty-h)ur works. all of them
well painted and preserved. the fincst
in this re\ iewer's eyes is the tall panel
on Avood ol St. Peter Standing in a
rocky landscape. by the 15th Century
Italian (iosimo Rosselli. Exquisitely
simplilied in the sweep of its drawing,
it is a masterpiece ol vertical coniposi-
tion. C.Z.O.
* * *
/^ERRn lloxnii's's exhibit at the Bab-
^^ co(k Galleries iiu Indes ni.inv circus
and carnival scenes. This thenie has
alwavs been a ri( h source for the .»rtist,
and though Ilondiiis has a tendencv to
illustrate his subject at the eost of niore
painterh \alues he does numage to
(apture the drama of the actor's life.
'Po find more profomul painterly quali-
ties we nurst look to such paintings as
}Vo7nü)i, and the very fine landscape,
77/6' L())ie ßeach. In these oils and
others. ])lanes of color begin to develop
form that has plastic control and pic-
torial relevance. A. N.
D
TT W
AV SciiNAiiEE is shouin
sculptines done between 1951 and
1957 at the Betty Parsons Gallery.
Karliest works in this group are geo-
nietric stone carvings, precise and
austere. 77/r City, two pieces in lime-
stone, and Fortns within a Cube have
an alniost Egyptian severity. A series
of small bron/es lollows, in which
g fourteen
[i«3
plant motils relied a (hange ol mood
toward more lluid, barocjue forms. Pwo
'/^rufi.sfortnation.s, one in niarble and
onc in bron/e. explore this tedinicpie,
and its (uhnination is a large. complex
l^laster ( on sti u( t ion. called Sphere,
seven i)y six leet, on the tiienie of
perpetual niotion. H. 1). M.
t;j^i<i:i) Parr seems to find his scidpture
ihenies in the metallic dank and
angular movement ol knights in
armor. resohing the drama ol their
stances into the dMiamics of his l)ronze
figines. Actualh it is the iliythm ol
Space that is his thenie in these open
s(uh)tures. a (oiuinuitv ol rhvthni tliai
ne\er tonies to rest and activates the
diaina i)eiween the thrusting lorms and
the endosed sj)aces. Ihree latest works
of arnied horses are more solid in
modeling and indicate a tmn ol iiuei-
est louard massive \()lunies.
C. Z. ().
JAMES Pexne\ 's new abstrac tions have
grou n mudi more lyrical and in-
tuitively (onceived, as he strives to give
j)i(torial coherence to his sensations in
conlronting nature. Obviouslv the Lily
Pond series by Monet has liad a strong
impact lipon liim, for sudi a ])ainting
as Sununer ]\'()0(ts, cpiite beaulilul in
color-h)rm striuture. re-evokes a shini-
niering impressionism. Valley, a little
tighter and unbroken in color. also
becomes imj)ressi()in'sti( in its atmos-
|)heri( light handling. W'hen Penney
works too dose to his subject matter,
as he does in Ouarry, he falls into con-
ventional painting habits. ralher didl
and without imaginatioir. Kraushaar
(ialleries uiuil April 20. A. N.
\ njA \ i XKERs' pastels on canvas. at
'^ Rose Fried Ciailery to April 6th,
demonstrate that j)astel is not a fragile
niediimi in its expressive capacity. The
colors. generallv rieh and waniE some-
i HIRSCHL^^ ADLER
jralleries ine.
21 East 67th St., New York 21
Tel. LE 5-8810
[17]
tiiiics acceiUcd by a pak' aiul bitter
note. are masscd in big sti idiiig rhords,
or closcly wovcn in ))arallels that ac-
company and lollow. or break to revcal
thc movin.s^ color ol tho js^round. A
motu likc a hcavilv bianchino ticc rc-
curs witli a ccrtain mtnarc. In thc
black-and-wliite studies thc cxcitcment
oi color is sugf^cstcd by thc rhythms of
(hc movino band. A. B. L.
# # #
"p I ci NT Ami RicAN Ac()risn IONS, fifty-
onc works acquired bv gilt or j)ur-
chasc bv thc Museum of Modern Art.
have been placed on \ icw through
April 21. supplcmcnting tbc rcccnt
similar display ot Euroj)ean acquisi-
tions. Abstract cxprcssionism may bc
Said to (lominatc thougb not to mon-
opoli/c thc prcscntation: and thosc
critits who lound so mucli to malign
in thc European accjuisitions of thc
past ycar should Iccl a bit happier with
this oHcring. Kstablishcd names — so
well proniotcd by their imj)rcsarios —
are thc ones almost exckisivelv in c\ i-
dencc: ibough haj)j)ily thesc are bal-
anced b\ \cry worthy ncwcomcrs Irom
Canada (Pierre Clerk). Ni(aragua (Mo-
ralcs Se(jucira). Hra/il ( Aloisio Magal-
hacs) and Irom other (ouniiies ol this
hcmisj)jiere. C. Z. O.
* * *
^iii K^2nd Annual Kxbibition ol thc
National Acadeniy ol Design in
March compriscd roiighlv ]ji) paintings
and 10 sculpturcs. Prizes gi\en to land-
scapes in thc painting (li\ ision tendcd
to go to compositions in which the
abstract Clements, even when not ovcrt,
dominatcd. Among thc figure pic(cs
honors remaincd in more (<)nser\ative
hands. [oseph llirsch's Memorial,
though reproduccd in thc catalogue,
niight well have rcccived lurther dis-
tindion. llie sculpturc scction seemcd
disappointing, with the exccption of
Allen Harris's flucnt and elegant Torso.
The Hil)j)olyte by Helen Haas had a
fine, extited line. A. B. L.
LOAN EXHIBITION
ROUAULT
April 23 -May 15
SCHONEMAN CALLERIES
63 EAST 57th STREET • NEW YORK
[18]
q^ni: collection ol modern TYcnch
paintings formed by Peter and Eliza-
beth Rubel is a saga in the adventure of
cxpcricncing contemporary art that
dates back some cighteen y^irs when
thc couplc were married and j)ur(hascd
theu' first painting. I'hc collection has
now grown to a formidablc size, and
a large j)art of it is on vicw (to April
ES) at thc Pcrls (iallcrics. In thc lorty-
hvc works shown, Raoul \)u[\ seems to
bc the numerical favoritc (almost one-
third are by this artist); with all of thc
top School of Paris names included,
with thc cxception of Matisse. One of
the (inest Utrillos in America {Bistros
de lldinlicur, \[)V2.) is oiie of thc high-
liglus of thc exhibit; the most powerful
painting is Picasso's hemme Nue
Coiuhre {\{Vy>). Q Z. O.
# • •
/^^O.NrKMl'ORARV IrAMAN Pai.\ ri\(; AND
ScurpTiRK. a varicd scle(tion
at the World House C;alleries, indi-
cates that thesc Italians cither base
their works on reality or are conijdetc-
ly (lecoraii\e. Borsato's glowing Ronen;
Campigli's embroidery-like figurcs; the
vclvcty tcxtiu'c of Gcntilini's Tower of
Pisa and screne landscapes by (;ubel-
lini are outstantling cxamples. Music
(oml)ines soft laiidscapc with lantastic
horsemen; Morandi öfters muted vari-
ations on |)ots and \ases. Among the
sculj)tors, Consagra is lasdnatcd by
Conx'ersalion in xarious iiiaterials; Eaz-
zini's Seated Sude is sensitive; Manzü
makes a (olossus out of Cardinal, wiiilc
Martini's sandstone portraits bave an
cthcrcal cpiality. R. E.
* * #
Oi.LiJi.N Iam's iicw show at tbc Alan
Ciallery is an exprcssivcly unified
exhibition. 1 bc titles ol the pictures
are a key to their content and the
artist's absorption with thc shape and
leel — one nnght even say — thc very
sound of weatber. Ihcrc is an artlul
coarsening ol tbc picture surfaces and
(olors are held to a bold monotone, a
slaty huc, as in the coniposed and re-
ticem ()(('afi Mornino; aiid Surf and
NEWHOUSE GALLERIES, Inc.
Esfablished 1878
FINE
PAINTINGS
The Dickson Brothers
15 EAST 57th STREET
by John Neagle (1796-1865)
NEW YORK, N. Y.
[ 19]
(Uouds. '\\\v (lim aiul iiiikss hm ;im-
bitioiis Monhciidfi \ii>ht is ;is clillt'iciit
Ironi tlu' otlur (iunascs ;is ni!L»lu is
Ironi ;i luislicd and hlurry. sca-liümued
artcrnooii. (i. S.
• « #
X 7FI.A Zam ITI. Sj)anisli hörn artist
Avorkiiii^ iio^v in ihc Anuiicas. shows
recciu wölk al Siulanui i(aiia tlirouüh
April (ith. \ stron^ mural tciukiKv
(loniinatcs /anctti's lorms Avhidi poet-
i/c thc nati\e avoi knien and Avoincn
in rhvtlinii( poscs. (ioloi is stroii^ and
dark: rrd and pnrplc ^vitli hiolilights
rubhc'd ovcr lavers ol undcrpaintino
hrinjn a vivacity to nis sni laccs.
Enii(jn(' Rixcron takcs omi Aj)ril
8th willi hold colorcd. csscntialh ah-
stract works. I inniiig lioni (ionralivc
jjainiings ol sliohtly By/antinc Iccliiii;
in an imolvcd scratchhoard tcdinicjue
to pure (omposition in sliarp edgcd
flat (olor shapes. Riveron in liis latest
works hreaks up these sliapes lor a
ridiei \isnal experieiue.
j. (;. H.
]\ /TAsri RwoKKs Ol 1*1 RU. al the Dela-
"^ (orte (.allery. is an exhihition ol
Pre-Iiua pottery and textiles from the
Ith (i'iiturx to the lltli. All the ter-
ami(s are utilitarian, showini^ the tia-
ditional \ariations on a limited num-
her ol niotils. I)rinkint> Nessels ha\c'
the shaj)es ol women, warriors, "cray-
fishinen", (elines. hirds. Ihe huniming
hird. Iiua svmhol ol enduraiue, is rep-
reseiited almost as ölten as the stealthv
Jaguar. A (eraini( Hute with thirteen
iiotes is an unusual example. 1 he tex-
tiles. ranufini» froni small rihhons to
inaterials niiie leet loni^, are orna-
niented wiili the hunians. animals,
inonsters and plants so diaraeteristic:
of Peru\ian art. R. V.
TOoHiRi Kl vsi RS ahstrac tioiis contain
^^ a divcrsity ol j^ictorial ideas that
seeni the result both ol a prohing ec-
( le(ti(ism and of a seardi lor his own
painting identity. I he leeling ol Iree-
doiii in his Avork is ( louded bv a eertain
PAUL ROSENBERG & CO,
Established 1878
SCULPTURE
By
FRED FARR
April 8 - May 4
20 FAST 79th STREET, NEW YORK 21
[20]
sirained elled as il the stiixing lor
Ireedoni is not yet compalihle with tlic
(oiueptual iiieans. A dualisin helwedi
leelino and intellect makes the ima<;es
ol some ol his pidures loiccd or c on
trived. I)esj)ite these elements. kexsei's
paintings are alive and interesiin«», and
two Avorks in partieular, Ovid ///
jluciuc and Ml.shdl, are (|uite su( ( ess-
lul Statements. Parma (.allery begin
nino \j)ril 9. A. X,
'Jr ^ vi"
/^i.(;a Dormam)!, exhibiiiniL; ;ii Poi
^^^ traits. Inc., has a llair lor (iitdiin^
the easy inh)rmality and natural (jualitv
ol (hildren in an apj)ropriatelv spon-
taneous style ol paintiii«» withoiit sa(
iih(ing soundness ol construc tion and
subtlety ol color. 1 Icr portiaits ol adults
are also distinguished, but in the inore
suave style ol h)rmal portraitine. A
llunj^arian by birth and a resident ol
Paris. .Mnie. Dorinandi has exliibiied
Irecjuentlv, but this is her (irst sliow de
Noted eniirelv to portraits.
C. /. ().
V'Ax n R (io.\/Ai.i-/. a painiei ot i^reat
^ ^^ te(hni(al ability. (an do just about
what he wishes with llie leinpira ined-
iimi. lle <an (reate a (it\ sccnt that
1 ises like a \ isioiiaiN dream. or Irai;-
nient ;i |)i(ture inio an iinentiM* ab-
siradion relaiiiinji; at all limes tlu ap-
j)earan(C' ol thini;s. llardh. a (oloiist.
(fon/ale/ p;iiiits iiiainh in tonal \alues
smnmoniiig up a niood ol pessimism
and soiroxv. Some depi(tions su( h as
Aj)()lhi'()sis are lrau<.;lu wiih a sense ol
lerror or tra_ged\. Martin W iddiheld
(.allery uiitil April 20. A. \.
# * *
|V TAiRici-: Sir \ A.N. "elej^isi ol tlu sub-
inbs." is Seen in a new ixhibiiion
ol oil paintiiii»s ai the Passedoit. Ihe
artist's tie is to the Kraiue ol tlu Ini-
pressionists and the proxiiues. ol naps
at noon and reposelul Ltreen idU (la\s.
1 here is an ennui ol alternoons and
siiniiners in the emotional (limate ol
Rrhcdl. a beachscape with lollin«; lig-
iires reali/ed pidorialh throui;h sini-
j)hTied means. Woodslot hid isolates a
//
SAINTS IN ART"
(l3+h to I8fh Centuries)
EXHIBITION
fhrough April 15
Sf. Catherine
by
Liberale da Verona
JAMES GRAHAM & SONS
1011 MADISON AVE., N. Y. 21
100
YEARS
1057.1957
[21]
^iv\ hnkid in a (liiulrcniii iind drciulicd
ni (ornlort .nul in imKuciu csrapc
fioin it. Hr' ;,1()<)( and (ontained Xnn-
tuikci iMtidsiuju' Stands darkly alone
ninon,«^ tluvsc olouin^ conipositions.
(;. s.
*
\
^v\ I)v\ Iri i\'s uasli diawings of
Iliilv and North Alrica Ai tlic' Car-
stairs (;allri v (April \) to 27) arc in tlie
sanic stvk' ol draniaiit Ii,o|u and shadow
rendcrinos thai ( haia( tci i/cd his prc-
vious cxhihitions. \ In'ghlv aaom-
plishcd diaiiolusinan. Iic scts down
with unni int» casc thr indication ol a
Single wall Ol ihc swccj) ol a ^viiole
town in thc (h\tan(('. lUa vww sd'nc
is (Icpictcd uith thc samr mood and
Jighting. as ihonoh thc anist woiild not
pcrnnt wcathcr Nariaiions and thc
chaiactciisti( lunnaii o\crtoncs ol cadi
place to intcricrc uiiji ln\ dccorativc
formnla. Ihc dark grcv and scpia
washcs arc clJcdiNch dianiati(.
c:. z. o.
\ ru RKi Crossi R prcscnts landscapes
ol (;rcccc and Bra/il at the Car-
stairs (,allciy lo A|)ril (i. Hoth gronps
ol (anvascs werc paintcd within thc
Inst two ycars. Thc Grcck Islands ot
Mydia. Santorini and Acgina piovidcd
thcincs ol massive soliditv with the
luigc rock h)nnations and' the dosely
|)a( kcd l)l()ck-shaj)cd honses. Cold white
toncs iy'iw oll littlc light. and diawing
is better than color in this gronp. l'he
Kra/ilian snbjcds, done last vear, arc
iooser in hrnshwork, color has tropical
brilliaruf, and there is a niorc spon-
taneons inNolvcnicnt with the visnal
im|)act. Pine Trcea, Aegina in the
(irccian gnuij), and Chinrh of Torom
in ihc lira/ilian snbjetts are ellectively
simple and strong in design. C. /. ().
\
I IRI n Rlsskli/s one man show at
thc I)n\ccn-C;raham (to April 13)
is one painter's (hallengc. it mav bc,
/Unig '\u thc tecth ol twc'iuicth (cntury
inodcrnism. Mr. Rnsscll is an artist
The most exciting, most
significant, and influential
artists of the 20th Century-^
A SURVEY OF THEIR GRAPHIC ART
^^^^y^ ^'^^^ Zigrosser, Curator of Prints
and Drawings, Philadelphia Museum ol Art
The work of Cranach. Goya, Ensor.
Rousseau, Van Gogh, Gauguin,
Kandinsky, Klee, Feininger. Kollwitz,
Beckmann, Grosz, Picasso, Roualt,
Chagall, Weber, Marin and others.
122 Black and white reproduciions,
6 pages in füll color— hand
mounted—size 8V2" x U"
$10.00 ai all bookstores
GEOROE BRÄZILLER. INC. 215 Fcurth Avenue, New York 3
[22 1
who belicvcs in thc sublime riglit of
thc image and the unc ()mpli( ated flow
of (onnnnnitation Irom the pi( tiire snr-
laee to thc spectator. Again and again
(he artist \ehcmently undertakes to
wrest thc luidc back to its old-timc
eniincnce. Madajne V is a forthrightly
sensnous nude and Polish (jirl n stately
nude; while thc pale, linear (hisnillr
adiicves a sensitive, poetic Statement.
G. S.
l'nder the title **AI)stra(t Art belore
Cohnnbns." thc Andre Kmmerich
CiallcrN is sliowing scxcnty lascinating
pieces Irom thc North American con-
tinent dating Ironi 1000 B.C. to the
Spanish (oncpicst. Most impressi\c ol
the collcdion are the l!-shapcd stone
vokes w'orn inound the waist by
|)riests. "Palmas," Mexican teremonial
batons (arvcd out ol volcanic rock,
date back to (iOO B.C. Ol thc clay
urns lound in Mexico, the most re-
markable is a large orange one Irom
(iolima (Iccoraicd with bumps. An
;irc hiicc tural ornament hom .1 j)vra-
mid CNokes thc grandem ot the nionu-
ment. Seals, banner sioncs and other
objects all aic sclcc tcd to illustratc
(heir allnn'iv with modern tunctional
simpli(it\ in decoration and art.
II. I). .\f.
* # •■*
1701 R ARiisis' pcisonal \ iews ot "scnn*-
abstract" painting lillcd tlu \rgcnt
C;allcrv lor die montti ol Mardi. Carv
I.iston pcihaps best dcliius liei ap-
|)r()ach in .S7/7/ /./fr ^vhcii- strenuth.
coloi" relationship. and suitace treat-
nicnt makc a \ery picasing painting.
Doroiln H()\t is snbtlc and siiikini> in
her coloi- hainionies (Full Moon and
I'loirrriiiiy Sun). Her abstract idiom
tragments thc subjcd inio iircgular
laccts. (;iiarlo(ic W'hiiision is ucometric
in her \ iews ot buildings and in an
intcic'sting sccnc 77/j// thc Jil/fi(L \
tcchin'cjnc ot tin'n clabs ol oil gi\cs Klsie
ject-Kcy's work suiprising dimension-
aliiv. Hcic color seems to bc a wcak
^3
A YEAR • $5 FOR 2 YEARS
(Foreign Countries $1 aciditional)
Is All It Costs to Subscribe to ThIs Magazine
Use This Coupon
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NAME
[2.0
cleiiieiu in .m oilurwisc inicix'sting
iipproach. J. (;. li.
* * *
^Piu: IvNicKiRiuHKi K Akiisis Juicl tlicir
teiuh aimiial show at thc River-
siclc Museum. Oil, w a tcrcolor and
(asciu. ,ora()hi(s aiul sdilpturc wcrc
includcd; thc style most laxorcd was
Kprcsciuatioiial. IMi/c- w inner Rose
joselouit/ slioued a (jniet. poelic \ iew
ol Ronie. sul)tle in tone and texture.
Still-liles l)y Leonia Al)rains and Maini
Mendelson were notal)Ie. Susan Kalin's
Portrait 11'//// C/iild in harinonies ol
j^rey was sensitive vet robust. Note-
wortliy anioni; the landstapes were
Violet Sigisinund's llay al Prox'ittci'-
lown, iMay Heilonis' seini-al)straet eity
s(eue, and Heatri(e [olnison's Morc
(U)ustnuti()ti. Ralph Fabri's Ihii^id
Sopliia, a tenement seene l)y Lola
Frant/ and Don fordan's l'rnnori/
(hinryy excelled in the uateicolor and
easein se( tion. | \, i). \[
# * «
L_Fl^R^ koFRNER's receut exhihition
at the Midtowu Gallerics leatured
a <^roup ot paiiuings dealin^ whh life
in X'ieiuia. Admirable teehnicallv. and
\ivid representations ol e\er\(lay
seenes. tliey are nonetheless illusirations
because ol koerner's use ol garish jjost-
(ard hnes and weak (olor lorni struc-
tiue. koerner, essentially a draiights-
nian, sliows up best in bis blaek ink
drawings. Freely exedited, ohen sensi-
tive ol line and lonn, they are bis niost
personal expressions. Four stiulies ol
outstanding personalities done lor
Ti/nr maga/ine rouiuled out tbis large
selection. \ js^\
# * #
pAUi, Brach's first one man showing
at the Leo Castelli (iallery drama-
ti/es an a\id iniagination in the Serv-
ice ol a knowledgeable te(bni(pie.
His style is contenij>orary and the art-
ist is in easy allianee with it. Fbis
paiiuer is drawn as by a niagnet to
thenies possessed (;l pietorial splendor.
Exhibitions
paintings • April 1-20
joiix he:liker
paintings • April 22 May 11
KRAUSHAAR GALLERIES
1055 MADISON AVENUE (cor. 80th St.) NEW YORK
[24]
Arrnadn is a Tunierescpie torrent of
spirited and dantint; brushwork. Sav-
agery llickers around the borders of
his j)ietures and soinetinies tbrusis ri.i^ht
tbroiigh the central design, as in the
blood bot Vcronica. l'he swirling
Fücna and the animated Farol (oni-
bine in celebration ol the rage, sweat
and agony ol the bulllight. ' C;. S.
# # #
Ooi.ANi) Boi'viKR is anotbei' \(>nn,<>
painter to be introduted into this
country from France by the (;allerv 75.
His paintings depart Ironi the tastebil
deeorative noini j^revailing aniong ai-
rived young Frenchniei]. Into the dark
hatkgrounds Avith their snggestions ol
nioody lorm are serapecl groups ol
straight. cmved and willlully beut
strafnigs ol light, as though an exter-
nalizcd electrie nerve \il)rated over
the surlace ol the (anvas. Sonietinies
thc eflect verges on the hysterieal: sonie-
tiincs it is disciplined into nnisi(alit\.
A. H. L.
* * *
poBKRT 1). MckiNNKv's seniiabstrac-
^ tions are distinguished by solid
forms, glowing colors against dark blue-
gray backgrounds, deeisive brush
strokes and a siniilitude to modern
stained-glass Windows. CoastUnc No. 2
is tlie most subtle in bues, Seacoast
with Snoxü is the most dramatic ol
these thoughtlully yet imaginati\c'ly
j)lanned oil paiiuings to bc shown at
the Lynn kottler G.illeries siart ing
April 13. R. F.
• * •
A/TucciM, Urbinaii aiuI Vi spignani
were leatured in Mareh at the
John Heller Gallerv. Ol these three
yoiuig Romans. Vespignani alone bas
stature. His oils sbow Ronie as a
modern industrial city; he lavors such
subjects as Avenue of the (iasonieter,
/nrii^/tl Yard. His realistic canvases are
detailed, bnt not literal, and endow
bis tbemes with a feeling of poetry.
Muccini's drawings ol acrobats and
ballet girls are rcminiscent of Degas.
bu^ lack his deptb. llrbinati show^s
CHÄIM
GROSS
sculpture
drawings
. 1 ■
april 1 5 - may 4
DUVEEN-
T GRAHAM
1014 MADISON AVE., N. Y.
r»j
SAVOY
ART & AUCTION GALLERIES
5 E. 59 St., N.Y.C. Plaza 3-3941
AT AUCTION
Friday Evening
May 3rcl, 8 p.m.
OLD MASTER
DRAWINGS
So.UI hy ordir oj
Robert llc'uitt ^otlicrs
By or attribufed fo:
Pater, Vernet, Raph-
ael, Bramer, Michel-
angelo, Poussin, Orlzonte, Van Dyck,
Jordaens, Guercino, Van Huysum,
Blarenberghe, Sharples, Rembrandt,
Camblaso, Veronese, Carracci, Rani,
Tinforeffo, Silvesfre, Bloemarf, Ti+ian,
Polidoro, LeSueur, Boucher, Valllant,
Van Orley, Terborgh, Ricci, De La-
Fage, Piliemonte, Wolf, efc.
EXHIBITION STARTS TUES., APR. 30
Sfiui $J for l'rofiisrly illnstnifrd
catalo<nic.
ALSO
Friday Evening, May 10, 8 p.nfi.
OLD MASTER
PAINTINGS
Sold by Order of
ir. Xordzciiid. Lynii. Mass. 6c for otlicfs
By or attribufed to: Niccolo da Fo-
ligno, Canaletto, Janssens Van Nuys-
sen, Rigaud, Berchem, Franks. Leiy,
Longhi, Noileicens, Van Orley. Pacher,
Scorel, Seghers, Teniers, Van Dyck,
Vouet, J. GiJlray, Poussin, SaftJeven,
Van Toi. Ravelaer, Van Sehende!, Pala-
medesz, Largilliere, Tilborgh, Mengs,
Breughel, Hobbema, Rubens, Hogarth,
Francken, Lairesse, Holbein, Bouguer-
eau, etc.
EXHIBITION STARTS TUES.. MAY 7
.SV;/(/ $.^ for l^rofnscly illustratcd
Ciitalo(/iii'.
PAINTINGS. DRAWINGS & ART OBJECTS
ACCEPTED FOR OUR EVE. ART SALES.
Mibjc'ds ;ikiii lo X'cspijL^nani's but her
litatiiR'iu hoixkrs on illustration.
H. I). M.
« # #
j\Ti.iii\iii) Nijad's j);n'ntiM,^s aic
showii at tlu' /o(li;u Gallery
tiiioiigli \j)iil 7tli. I lu' siriKlurc ol liis
abstj actioiis olicti Jias ;i ja<^<;c(l \i()l('n(c
sui><>('siino j)iiiiiar\ «»coloiL^icil picxcsscs.
I heil lorms rcstinblc tiu' iiitcrlcx kcd
(iNsLais Ol M'iucd inoNcnuiUs obscrv-
ablc in polislu'd «»ranitc' or iiiarble,
ihoiij^li tlu- (olors arc vcrv briojit. Oiiiv
onc j)i(tiii('. ratiu'i coyly litlcd liohisti
\(i( hiniNsih , siiogi'sts iIr' arlist's cxotic
ori^in by its opulent (ktp blues and
luKpioisc's witli cnnniic acxcnts; he is
,i>(.'iK'rally idcniilicd \\\[\\ the I*aris
Mhool. ' A. B. L.
# * *
TT ANS jAi:.M,s(ai. AU an j)r()re,ss()r at a
licrlin l'ni\crsity. is a |:)ainU'r ol
(U'licatc srnsibility. hiudla tnally rc-
(inccl. Ins sinal! caiixases abound in
|)laylnl absiradcd inia<^cs t'xccntcd in a
nt'at. prec isc style. Toads is in hniiinous
bluc's and j>recns wiiich glow niystcr-
iously, u'licrcas Jioc /iifiir Horse, painted
in bold, bright colors, is a hnmoroiis
depiction. Dcspite an inhcrcnt sense
ol lun in nuu h ol liis ^vork, facnis(h
snnnnons up emotional states bordering
on terror, in whieh the humorous and
the grini are curiously interniingled.
Kleeniann (.alleries beginniiig .\pril 22.
A. N.
# # #
jVyTALRicE Becker's best work in his
cnrrent show at the Martert Cial-
leries are the sniall jxniels he bronght
l)aek Irom a recent painting trip to
Mexico. Ilere the eolor is Iresh, linipid,
atniospheric, and beginliiig to the eye.
Ihe Wide e\])anse ol a pink stiicco
wall, vibrant \\'\i\\ seiin-tro))ical light.
serves the donble iniKtion ol a solid
conipositional bnttress and ol a wann
area ol color against which the squat-
ting or strolling Indiaii lignres are
sn(( iiutly painted. C. /, Q.
[26]
T^'sriHAN X'icKMi/s sliajK's glide in
seareely disternible rectangnlar
rhythnis over bland expanses ol canvas.
1 he advance and retrcat ol these \agiie
color patdics dcpcnd on the \arving
reticeiue or brillian(e ol their hnes:
and the lateral or vertical nioNcinents
are snggested by the diredion ol \\\v
inijxjsto brushwork diat (oniposes ilieni.
In his paintings shown at the Rose
Fried (iallery in Mardi. X'icente
abandoned line and form in lavor f)l a
niore direct appeal ol light. solt and
attra( tive colors. A. U. L.
* # #
j\ /TAY Hi.iLüMs has twcnty-lour oils at
^ the Petite Galerie, sliowing the de-
velopment ol her style. Most success-
ful are 77/ r Sca Borne and Oj the
Forest, both bnilt on black verticals
thrnsting upward against a sensuous
backgronnd ol blue and grey. Loose
brushwork and organic lorms (hanic-
terize her present (anvases. l.arlier
works diller from these by their in-
(isixc line and high-keyed (olor.
H. I). M.
* * #
T^^j.i/ABiiii ^. TAsnjiAN. in her first
^^ show since 19^^8, has gone in lor
the thenie ol nuts in a big wav. Her
hazel and walnuts niake uj) in tre-
mendous size wliat they lack in color
and variety. Her niost personal work,
howe\er, is in brilliant landscapes
sndi as JUue Ihidire, a snow-c lad \ iew
oF Central Park, and the poetic Pe<ir-
tree Blossotns. Lynn Ivottler Ciallerv,
to April 13. R. F.
* * #
pRi I) ^^l:ssl RsMMHs hrst New \'ork
solo show, at the Harzansky Gal-
lery. includes a niidtijjh'citv of stvles.
He is best in his West Virginia sub-
jects in which he transforms smoke-
stacks and railroad freight yards into
poetic pictures. Bridge of Sfo lief um
is an imaginative cascin: Miner s Bath
is the most arresting of the oils. All the
work is three-dinieirsional. emphasized
with outhnes in many hues. R. F.
(Continued on finge 53)
Färke-Berivet
GäLLERIES, Inc
[Lesi.ie A. Hyam, Prendent]
')m MADISON AVENÜI';
NRW YOIJK 21
U^uhlic cV//(?
Cipnl 26- 2 'y af i:j,j
FIIVE FREIVEH
FFRIVITURE
FRKNCH SILVER
rALMINGS- DRWMXGS
SAVONNERIK A.\D
OTHER RIGS
Sold hy Order oj
GUSTAVE PIERRE
BADER
Paiiitinjrs and clra\\iii<;j. fea-
lure Portrait oj <t Lady bv
.Aattier and works hy Hubert
Robert, J. B. Hiiet, a draw-
ing; by Guarch* and works bv
other artists < Terra cotta
s tat nettes and bronzes l)v
Barye and Pierre Jules
Mene.
Illustrated Ca/dlof^ur $1 .
(sy/i i^iew fro/)i Cipril 20
[27]
i\eport jfwm j^ans
Bv Barm 1 1 I). Com. an
l)CC'ii moic iiinoN ;i( ioiis in (he liist
filt\ \cars fh.m iti all thc (ciuiirics bc
tuecn ,S()()(I li.C. aiul IH.iO A.D. I was
rcnHiuiccl ol all tliis a Icw (la\s a<>() on
scciii" a (ollcction ol caiK work b\
l*iel Monchiaii wliich lias just hccn dis-
(overcd hcrc in Paris. I lusc ))aiiitiii<>s
\K\\\i:\\ datc hctwcc'ii IHOO-IÜO!) aic all
fimiiativr. Sonic i((all Pissano. otlicis
rcniiiul onc ol \'an (.oi»h and tlicrc is
a |)aintin,i> ol du \saniluMmnns \\hi(li
ini,<»ht well l)c' hy Fantin Latour! The
cnscnihlc is hcinj^ cxhihilcd at thc ncw
(iak'iic Daniel Clordici and is pic
si'iucd hy Midicl Sciij)hor wliosc nionii
nuntal cdition with ()()() platcs on Mon-
(hiaii and his work has just apjx'arc'd
sinudtaiK'onsh in New ^ ork and Paris.
\\ thc sanic tinic, an ini|)()iiaiu ictio
sj)c'ctivc ol Mondrian's an is Ixini» luld
al thc Dcnisc Rene <^alkr\. Ihc (oii-
trasl hctwccn tlicsc two shows is as ujcal
as tliat whicli cxists l)ct\\c'('n tlic old
ordcr ol thin<>s and ihc scitinilu ina
(liinc-niadc \v()ild ol ihc picscnt da\.
Mondrian is sccn to havc hrid«^cd thc
(hasni w'hidi sc|)aiatcs thcsc t\vo \v()ilds
and in tliis \\a\ to ha\c l)C(()nic onc ol
thc chicl proniotcis ol ahstrad art. lic-
twceh ihcs'c cai ly landscapcs and fio^\•c^
paintin|.»s ol l!M)l and thc lliodduuiy
lloogic W'oooic (oniposilion ol HltH
dicrc is an in(ci\al ol oid\ loity ycars
which nn<>lii well, il onc rcllccts, bc
that ol lottN (cntuiics. Hcrc \\v find
all thc diticrcnccs that di\idc die art
World ol today. In this icspcci Ah)n-
driaii can bc considercd to bc thc niost
rcprcscntatisc artijjt ol oiu tiinc. In die
last dccadc siiicc hc passcd away, ab-
siract art has prolileiaicd in a luuuhctl
dilleieni directions. It is, niorcoxcr, in-
icrnational so that a \aricly ol (ultural
l)a(k^ronnds Ikinc (onie to toniplicate
it still Inrtlier.
*
\ I IUI MOMi.M thc [a|)ancsc havc
aj)peare(l on thc lelt baiik ol thc
Seine. Ihc Far Fastern raccs lake natti-
lalh to abstraction becanse ol thcir
traditio!! ol calb\iL»raphi( loüiiation, and
ol thc lact that thc\ wcic piactisino a
loiiii ol it !!!()!(' thaii twentv (cnturics
ago. Su<^ai \\\v) is showino at thc ncw
(ialciic Fe Ciendic and at Fa Rone has
l)een attiactiii" attention now h)r sonic
ycais. Mis bioad brush stiokcs sho\\- a
nervous calli,<»iaphi( lile and his in-
sj)iiation sn,o,<>esis pichistoiic nieniorics
ol \\it(l!(ralt and caily de\il rituals.
With lüiai at thc (ialciic Stadler wc
ha\e Lo do with a lica\ \-\vciL>lit in evcrv
scüsc ol thc tcüii. His innnense pancls
thc si/c ol innials with an intiicatc all-
o\c! |)atteiii (on(('i\('(l in tciins ol
depth balMc analysis. Dense and Avcightv
as cnaniels. \\itli a i i( h oricntal in-
tciisity ol (oloni, they oller cndicss
peiüiutations lor tliosc \\\\u tarc to fish
in thcsc subtcüanean waters.
Ol a dilleieni oidcr and nioic casih
lc.L>ible is thc exhibition ol thc Anicri-
(aii liill Parker at thc Galerie Kagano-
\it(li. Fhc coUection tontains paintings
uhicli are j)artly abstiact and othcrs
which go into pure abstraction. These
diu ereilt phases ol bis work arc sccn
in thc sencs ol still liles hall ligurativc
and at nioinents slightlv icniiniscent
ol Bracpic. and a nunibcr ol abstract
(onipositions ol an original c liara( ter.
[28]
The pattem built nj) in hnge (oloin
patdics ol white and ncIIow as thc kev-
note has a ridi (jualit\ suggcstixi' ol
stained glass. 'Fhc \ i\ id cdairage adds
depth to thc (oiujiosition whidi takes
Ol! a sort ol ardiitcc tural nivstcrv. It is
a type ol painting Avhidi is likcly to
Avear well and stand thc test ol tiiiic.
* * *
/~\Lrri Ai'ARi Iroiii thc exceptional
^^ beanty ol thc ( ity itscll I thiiik thc
attia( tion ol Paris lies in its astonishinti
(ontrasts. Fhc ncw and thc aiidcnt are
found side b\ sidc. Fhcic arc nc^v i»al-
lei ies (hat spiing iip alniost e\ei\ weck
Avhidi contain thc \c!\ latcst pliase ol
abstract art and there is thc Biblio-
thc(jiie National whidi ai stated inter-
\als appcars as thc guardian ol thc j^ast.
.\t thc iiionient onc can sec there an
exhibition ol Ficndi en<'ia\ in» ol thc
b)th (cntniy. (lispla)ed ( hronological-
Iv and linder thc head ol well knowii
artists. During tlic Ijtli ccntiuy thc art
WAS conlined largelv to wood blocks
lor book illusliation and il is not be-
loic ir)2() that WC lind ihe leading
aitists ol thc linic like [ean Diivct
nsing thc (()j)j)ei plate. At that nionicnt
cn<>iavi!ii> bcj'aii to Irec itscll ol thc
book. and its success as a separate art
d'\d niudi to establish thc Fontaine-
bleau Sdiool l)\ rcj)!()du( ing ihe work
ol Priniaticc io and Rosso. A laige part
ol thc exhibition is dcxotctl to this
sdiool and to thc art ol Jean Duvet,
|ean I)a\c!it. (lere can. Perissin and
Fortorel. Fliis show also iiidudcs an
intcresting scrics ol j)ortiaits in copper
plate which bccaiuc thc lashion be-
tween IjJ^KiOO.
* « »
\ MiDsi ihc pcll-iucll ol ihousaiids ol
'^ artists stri\i!ig lor lame onc occa-
sioiially coiucs across thc luore genuine
type wlio has lived long, ölten in ])ov-
crty, caring lor bis art alonc and only
in the long lun ciucrginiL' into j)ublic
notice. Fhis is the casc ol Simon Scgal
\\ho until cjuite rccenlK worked alonc
isolatcd in thc French coiintryside. Iii-
vited last vear bv ihc Museuni al Albi
Bictn;ni'j: SiMDN Shgal
/./ c,u' c:ie Bcis.u/yj. Paris
Still Life: Forissier
Al CiAlerie ryaniojid. Paris
[29]
PISSARRO, rue de l'HermItage
a Poitolse. 1879
BERNHEIM-JEUNE
27 Avenue de Mafignon, and
83 fg. St. Honor4 • PARIS 8
Cable Address: Berjeune, Paris
SPECIALISTS IN ART BOOKS
Exhibitions of Modern Paintings
Les Vagh-Weinmann
+o April I I
Cora-Felice Verdi
to April I I
Jose de Lapayese
April 13 - May 9
Hubert Clerissi
April 13 - May 9
G. Kayser
April 13 - May 9
ROLAND
BOUVIER
FRENCH
ABSTRACT
PAINTER
To April 20
GALLERT
75
30 E 75 $T NY
';> ^l'spl^.v his woik. Ins big cxhibiiion
fluic niiiikcd hiin out ;is onc ol the
'nyst ori^iuiil pi.iritcrs ol cur tinie
AloMosHk' Ol \'illoM. Dnlv .nul Rouauit
'y^;«MAv..s noi (lin.iiiislRd. In his show
l'ns n.onih ;.t thr («McnV Hassano one
( .ni s(r how ,is oiioinal loitv and frcsh-
'H'ss scts hnn in a cjass apart. Rongh
^^[nlumoulh, hisart trnds to sluuk and
chstinl) all avIio an« unpicpared lor it.
•V'.L'id IS a pnnntivc who has rctnrned
f;> "h' carlv siniplidiirs, to man tillinir
|Ik' earth, lishino thc scas. tcndin.n tlio
UTds (.olour is rirhlv integratcd. hc-
low thc surhuc and (onstiuctive Ilis
poitraits Ol pcasants appcai like idols
rnrvc'dout of wood and. at tin.cs, ccnie
dangcrouslv ncar to (aricatiirc. The
''••ndscapc with Inidocs such as thosc
•" \i'>i or at Asinc'ics aie so transposcd
tliat thcv takc on thc aspa t ol very
.'tndcnt placcs translmcd to tapcstries
'"Hl (onrcal a stranoc poarv of thcir
(nvu.
Ol a difkrcnt ordrr. Misatilc. pio-
'"( and hrilliant, in his wav, Morvan
uiio ^vas mcntly awardcd thc Prix du
i cnun. has hllcd thr tuo oallcrirs at
tlH' St. I>la( idc. His art is lit up with
palc yc'llows and sapphirc hlucs which
.^Ivc a Ivrical notc to his paintings
^oinposcd oi scascapc's, landscapc;,
niostly Ironi his nativc Hrittany
Arauri(c Blond is a thoughtlul artist
jWh) has accjuircd his prcscnt tcchnique
l^y a sh,w and arduous process ol
plumbnig thc dcptJi Ol appcaranccs.
Hc IS n.decd a modern intimist pcne-
tnuing the essence ol things through
an unconnnon gilt ol intuition. Pro-
lonndly hmnan he prelers the liumble
;m(l snnple aspects ol ülc. His nrescnt
Show at tlie Galerie Coard ol portraits,
still liles. iandscapes and figures is
(onvmcnig. His eolour has become at
tnncs, brdliant, and in certain llowcr
subjetts ol an oriental quality.
rhe Salon ol Alsatian painters at the
Raymond Dunean gallcries contains
;\7[,^''ty exhibits. A landscapc oi
VValch conianrs a rieh pattern like
stanicd glass. Gicss. well kno^^.l in
[30J
Paris, exhibits a clcarcut landscapc.
lircitwciscr shows iandscapes remark-
ablv sensiti\c. Mlle. Brunschwiu. a hav-
niaking scciic truc to lue and Ircsli in
its conccption. kanuncrer is trcnchant;
Kichl romantic; Schmal, rough: I rin-
got displays a snowscape well managcd,
Lucien Weil a portrait ol j)octic stvle.
A group ol twcnty-five \ouug artists
—La NouvcUe Vaguc — at the (ialcrie
Framond represent prcscnt (la\ tcnd-
encics. Forissier, spccilicalK "llc de
France", is a serious artist, Gucco and
Tcjero display exccUent temic. Ihasi-
lier, Garcia Föne, (iuiramand. Fleury
iMassalve, Sliart, are among thc most
interesting. Thc show is onc ol thc best
of its kincl.
Hautain-Ciuiraut is sliouing his cle-
signs on glass at the Marcel ßernhcim,
Imaginative and Icrtile in thc produc-
tion of lorms, he has liad to accjuire
his art more or less alone. Inibcrt, Avho
is from Marseille, is exhibiting an cn-
scmble of paintings and watcrcolours
(Continued an {mge :^i)
GALERIE MAEGHT
13 rue de Teheran
Paris 8
BAZAINE
Recent
Paintings
MAY
STEPHEN HIGGINS
PARIS
29 Faubourg St. Honore
Tel. ANJou 2910
Master Drawings, Paintings
and Sculpture
[51]
Arf?/ecl P/g//t'e: Fred Farr
/!/ Pd//I Rosen her g GaUery, S.Y.C.
i
I
Les Pronieucules d'Einiidt: Magrit ri-:
At tht lolcis G aller) , S Y .C.
i
w
Antnnni: Georges Rouault
Exh'ibited nt the Knoedler Gallery. New York
C323
Charioteer: Odilon Redon
Al ihe Neu York Public Library
Girl with Planer: G. HoNDlus
At the Bahcock G all er), N.Y.C.
Painti)i(r II: Pierre Clerk
On Exhihitiofi at the Musetifii of Modern Art, New York
[33]
CALLIYANNIS
Paris Exhibition
26 April - 18 May
at
Galeries
JACQUES DUBOUR
126 BD. HAUSSMANN
Paris 8
and
MOURADIAN-VALLOTTON
41 RUE DE SEINE
Paris 6
GALERIE HENRI BENEZIT
20 r. Miromesnil
Paris 8 +el.: Anj: 54-56
A. ZYW
Recent Works
March 29 - April 12
On permanent view:
Atlan * A. Caillaud * Chapoval
Garbell * Gonduin * Hayden
Helman * Herbin * Jansen ' Lanskoy
A. Masson * Pichette * Schaar
Tal-Coat
RKPORI FROM PARIS
(Conlifiurd fioffi jxii^c ^il)
in uhidi hc is both forcciul aiul at
tinu-s icfinctl. He is a rcinarkablc
(Irau^htsniaii.
Sciadour, a nativc ol >rarseillc, is
showiiiK lii-^ rcccnt uoik at thc (;alcne
Ror \'()linar. Hc cmploys pure coloui
aiul (lear outline, and his portraits and
Ijoincs painied in brilliant scarlet or
icd iorni an art that is casily legibk'.
Largc liower subjccts painted in sonie-
tbinj,^ near to a irompc Voeil tedini(iue
have a snniptuous character. His pies-
ent show is painted to please.
>r()retli is a young Italian who is
soniethiiig ol a virtuoso able to rapidly
execute portraits or still liles. He has
ii fantastir iniagination able to map out
large conipositions ol a grotcscpie or
(haniatic nature Avith a certain brio.
His painting may at dmes astonish but
it is not the sort of art that convinces.
His prescnt show at the licrnheini
Jeiinc gallery is unequal.
Guv Montis has fdlcd the big Durand
Ruel gallery with a collection ol por-
traits niostly ol cclcbratcd Parisians,
artists, cinenia stars, daiicers, prolessors.
He is a realist who does not go out of
his way to llattcr his subjeets and his
art ölten suceeeds in (onccntrating the
essential nature ol thc peisou depictcd.
Galerie Framnnd
3, rue des St. Peres
PARIS (6) Lit: 50-80
R. Oudot, Rohner. Chapelain-Midy
Humblot, Brayer. De Gallard
P. Chieze. Andissone
Michel-Henry
[3-1]
DURAND-RUEL
Established 1803
37 Av. de Friedland, Paris 8
Cable address: Durandruel — Paris
MODERN PAINTINGS
GALERIE FRICKER
177 Bvd. Haussmann
Paris (8) Eiy 20-57
GROMAIRE
JAWLENSKY
LEGER
METZINGER, etc.
Sole agent for LERSY
Galerie Lara Vincy
47 rue de Seine, Paris (6)
Tel. DAN. 72-51
ACHIAM
SCULPTURES
April 13 - May 9
GALERIES
RAYMOND DUNCAN
31 rue de Seine
Paris 6
are bringing over for
the opening of their new
Gallery in New York
an important Group of
living Parisian Artists
GALERIE BASSANO
9 rue Gregoire-de-Tours
Paris (6)
SIMON SEGAL
April 5-30
In M<
CAMPAGNOLA
HENRI REY
ROSENBERCi
and STIEBEL, Inc.
PAINTINGS
OBJETS D'ART
32 East 57th Street. New York
NIVEAU
GALLERY
Modern French Paintings
Bought and Sold
942 Madison Ave. (at76St.) N.r.
REgent 7-1094
[35]
cU.ondon r ji
euu6 an
Bv HORACI. SlIIIM»
d wl
levui
I
()M){)\ IS III a <^a\
n
lood ol sj)riMjL;.
\\ ma\ l)C' siniplv thc icsult ol
l)C'in<^ l)\-|)ass('(I h\ tlu' wiiucr so that
wf ha\c' alrtadv {iiioNcd wccks ol
wann. sj)iini>likc' Aviathcr: or thc dis-
(o\('r\ tliai in spitc ol bciiiL» told that
thc Siicv (anal is our lilclint'. and that
oni wholc Standard ol li\in<» dcjicnds
on ii. tlu' politic ians now teil iis that
it (locsn't matter nuuh: or thc other
disto\x'r\ that pctrol rationin^ niakcs
thinj^s inu(h niort.' j)lcasant lor most ol
US. at Icast in London. In thc iiiore
cxaltcd World ol ihc arts thcrc is a kind
ol rcllc(tion ol this bri^htncss. Ihc
priccs in thc i^rcat London salc-roonis
(ontiiuic to producc <>asps ol astonish-
nicnt: an Avcixanij) has just "madc"
(1 always likc- that tcrni) £I7.()()(). Ihc
private ji;allcrics srintillatc with thosc
red Stars ^vhidi betoken salcs. Lrue
thosc dealers ^^h() are devoted to Old
Masters or thc i^rcat Impression ists
(omplain that thc\ cannot (a) find or
(b) alloicl first-rate spe(imcns; but
this has the compeiisation that man\
fine pictmes by lesser known masters
receive thc attention whicli they rcally
deserve. And it ereatcs spacc h)r new-
(omers. There's always room on the
penultimate rimj» ol the ladder.
Actiially the outstanding Old Master
exhibition lor April does not call lor
aiiy apoloji'C'tics. Ihc annual showinir
of Diitch and Lleniish pictiires at Slat-
ter's Gallery (an boast three lirst-rate
\'an Cioycns, the most respendent Still
Life by that master ol the resplendent
Still Lile. Abraham \an Beyeren; a
Frans van Mieris the Lider, Lady heed-
nig a Parrot, ol süperb (piality with a
j)lay lipon ri( li greens \\hi(h this artist
loved: lan(ls(apes by (an Wyiiants, the
\an de Veldes, and others: lloAvcr-
pie(es. skating scenes. marines: in but.
the whole gamiit ol that age ol j^ainter-
ly well-(()ntent. 11 \ve ha(I not the cvi-
dence ol historv and the ocuinc ol
Rembrandt we nn'glit imagine that the
17th (cntury in thc Nctherlands ^vas
the golden age. Delightlul escapism in
oiir own ])eriod. whcn art and (un^st are
almost synonynioiis terms. Whether wc
are looking at Adriaen van de Veldes'
idyllic The Pi/)ifi(r Hcrdsman: an e\-
({iiisitc Still Lile by Pieter Claesz. all
Shilling glass, gold and pewter; Adriaen
van de Venne's Lishionably tlad Shdling
Party: or van Mieris's well-deshed lady
at her dressing table, we are in a laiul
ol pleiity and peace.
# # #
T3()gi:r diAi'KLAixMiDv at Looth's is
an artist who is enjoying vnhnnc
in bis native France and is exhibiting
here h)r the first tinie in London. He
is I'rolcssor at the L(()le des Beaux Arts
in Paris, has had sjiows in iiiam parts
ol the World, and iias a staggering
re(()rd ()r adiievement and ol eritical
adiilation. His ränge ol subject matter
is so varied that at first ghuKc this
exhibition looks like a mixed one: and
eveii tliough at secoiid glaiKc the
(jiiality and ajiplicatioii ol bis jxiint
miifics snl)jeets as diverse as a boy's
j)ortrait, Le petil Arlrquin: a seattered
still lile, Le Büffel Blaue; a landscape,
Paysage du Gdtinais: a thcatre seene, a
llower study, there is still somethiiig ol
a seanh lor the real Roger Cliapelain-
Midy. He is part ol the reaction agaiiist
[36]
is?**^ y-
Spanish Harhonv: Alistair Grant
Al Zweninier Gallery, London
V'igure 1)1 Bcdance : M . Ayrton
At Leicester Gctller/es. London
Les Rues: Massimo Campigli
Exhlbhed at the Mctrlhorough fine Art Gallery. London
[37]
absli;K lioii. lor ('\cr\thinj^ lu' paints
is niost (Icfinilc'lv and ncogiiisably it-
scll. At liiiR'S too iniuli ilstll. too baldh
statcd. His coloin is \vy\ bold and eni-
phatic so arc his lornis. A tcasing
cnii»nia. tliis aitist. 1 woiukrcd ai nio-
nicnls wlu'tlu'i Uv had Ixtn discoNcicd
l)C'r()iC' lic had dis(()\c'ix'd hiniscll. Pcr-
haj)s hc liiis Ix'cn alto^cthci too hiis\ to
do so.
# # #
An ('\hil)iti()n dcNott-d lo (iinclte
^ Rapj) and Ro«»ci Montane' at
Adams Hioihcrs puls into ju\ta]:)()si-
tion iwo ariisis w idch (h'ssiniilar l)Ut
both bc'lonoing to tliat dodiinc ol ncw
rcalisni now so firndx csiabhsht'd. Mon-
tant-'s M cd i terra nca n sun ^vorship
floods his canvascs ^\ilh l)rioht vcHow,
takcs all ihc shadoAvs oul ol his Uir^v-
scalc ligurcs. and yiclds a sialic van
Ciogh. Ginettc Rapj^'s cold passion h)r
black. white and grcy with an enlivcn-
ing dick ol red finds expression in hin-
ter snow scenes. Montane is ahnost two-
diniensional; Rapp is \ery solid, and
designs in depth, her l)uildings, boats,
(juays and roads running well back into
her canvascs. There is in her work that
fceling of permanence which is so grcat
an asset ot thc Neo-Realist school. and
nonc of thc iiglincss which niars so
niuch of it. Ginettc Rapp niav find
nalnre bleak. hm she does not find it
nidx'autilid.
* # #
\ T the Zwenimer Gallery one of the
'^^ yoiniger English artists is adding
to his already growing reputation.
Alistair Grant held his first onc-nian
show at this gallery two years ago and
was almost universally j^raised. Ihc
present exhibition shows that the
enihusiasni was not misphued. He. too,
has an eye for form and tends to iise
black or near blacks in his stnutiire.
His Staffage of extremely initidy small
girls and soniewhat dishevelled cats is
rather a nianncrism. and 1 would sav
that he can with advantage put niore
draughtsmanship into these. On the
other band they have amusing and at-
tradiNc pcrsonality and \itality. His
sensc oi the solidity of mountains. of
streets. houses. boats. harhoiirs, of the
forms ol swirling water, oi the effect of
drcnching rain. ol the arresting sha]>es
of plants: so nuich that he does is first-
rate. His variety betokens an artist in-
icrested in manv things lor their own
formal sake and thc pictorial valnc they
evoke; bnt in his (ase thc unity ol his
techni(iue binds say, Hdifi dt l)icl)l)(',
Artichohrs, a beach sccnc hcanii]), a
stark Birdcage and the ([uite monu-
mental Mountains, a \erv largc canvas
which justifics its si/e, as so fcw icalist
camases do.
* # =«»
'T^ni, Mari liORotcai Iink \kv liave
been having an attrac tivc showing of
the work of Harpignies. The earliest
shown was dated 1847, thc latest 1915.
All thc (hawings and |)ractically all the
water-coloms hclongs to our Century,
and Ibnpignics was tinncd eight\ vcars
of age when that ccntiirv opened. He
went on working for yct another fificen
years with no loss of delicacy in the
drawings, though the oils tend to
coarsen a little. Nothing really diverted
hini fnmi that conrse of natural paint-
ing which arosc from his adnnration
for (^orot. His is thc paiming of cjuiet-
ude, and he is at his l)cst in those
horizontal compositions ^\hcre the lines
of meadow and ri^cr and distant trees
swcep from side to side ol the canvas.
A lyric poet. who like his master sings
effortlcssly "as the linnet sings."
The (urrent exhibition at Marl-
borough is of those two challenging
modern Italians, Mario Sironi and
iMassimo Campigli. Both are highly in-
dividual artists who have created their
own stvles of strangely con\cntional-
ised painting. Sironi is especially him-
sell in his Molti/)li(aziofii in which the
canvas is divided into a number of
sections and the thcme repeaied with
\ariations in cach: a far oflspring of
that huturisni which heralded modern
art in Italy and tried to introduce the
(^Coutinued on poge 42)
[58]
MASSIM
MARIO SIRONI
o CAMPIGLI
PA INTINCS
through April 30
^^
BETWEEN SPACE AND EARTH
TRENDS IN
CONTEMPORARY ITALIAN ART
n
May- June
MARLBOROUGH
FINE ART, LIMITED
17-18 OLD BOND STREET
Tel. HYDe Park 6195/6
LONDON. W. I
Cables: Bondarto, London
[39]
Portrait oj Marcel Duchanip: J. Villon
Housto}! M/ise/ü}/ of Fine Arts
Yelloiv Hat: J. F. Feto
At Beny-Hill Galleries, N.Y.C.
Chtn'ch oj Tororn: M. Gkossl:r
/]/ h'je Car.wa/rs Ga/Ierj. N.Y.C.
Night Vigil: Charles Shaw
At the Pdssedoit Gallery. S.Y.C.
Coniposition Ko. 1, 1957: Adja Yunkhrs
Ou View at the Rose Fried Gallery. New York
[40]
Proiile ni DiagoiiaL 1932: Oscar Sc;hlemmf:r
Show II ,/.' the Galerie Ae>nic Abels, Cologne
[41 ]
JX)M)()\ NKWS AM) X'IIAVS
(Coutinucd Ironi />^/.ii<" :iS)
elciiunt of tinic into ])ainting. It is,
howcvcr. thc decorativf aiul paintcrlv
(jualitics whith are the atiraction ol
Sironi's an: his rieh ]r,\'i\M. his al)siia(t
(Icsign. liis harnionious (olours. W'hcn
hc painis dircTt lan(lsca]H' or tlu' hiiild-
ings in tow iis in his typicallv rieh c*ai tli
(olours the rcsnU is cxcellcnt. Campigh
huikls Ironi priniiti\t' Ktniscan art, but
ercds iipon it the sophistication ot our
own timc. His wasp-waistcd figures,
doli likc, irontal and bland, niake up a
(jucer pattcin. 1 his highly stylised art
is of the kind which one either likes
innnensely or as cordially detests. It is
fascinating to sce a whole exhibition
in London ol these two artists, sonie
oi whose work \ve niet in the Täte
Gallery show ol Modern Itahan Art
last vear.
* * *
'T^HK Li. icKsrKR CfALLKrv will be
^ exhibiting in April the work of John
Armstrong, that nietieuloiis svnibolist
who (hastises oin liumaii l()llie> with
the gavest ol colours and the niost (are-
lul fonns. and ol Anthonv Gross who
h;is soltened Ironi biting satire to give
calni landsrape studics.
I'hev have been showing an exciting
niunber ol bron/es ol Nfidiael Ayrton
and sonie (harniing and sensitive water-
colonr Sketches ol travel by Lord
Nfetluien. The thenie of nianv of Ayr-
ton's sddpiures is the balance and ten-
sion ol the body in acrobatic poses.
These, usiially poised on skeleton erec-
tions are ehallcnging arrangenients.
Ihe niasses of the bodv and the cx-
tended linibs in eounterpoise beconie
a kind of jnne s(ulpturc divorted froni
realisti( attitudes yet in theniselves real.
A nnniber of earelul drawings for
sculpturc supported the bron/es theni-
selves. including a very large bronze
figure of a male Ihülicr and (Jiihl,
whkh was a connnissioned work. Ayr-
ton has only been working at sculpture
for about four years. and this exhib-
ition was a remarkable arhievement.
ADAMS GALLERY
24. DAVIES STREET, BERKELEY SQUARE
LONDON, W. L
MAYFAIR 2468
F^ilNiCIHI
DMIPRESSDOINIPST:
ALSO PAINTINGS BY
BELLIAS * LORJOU * MINAUX * MONTANE
MOTTET * RAPP * YINAY
[42]
Sporne oLoncii
on
H\ Pmrick Havman
odt
ernö
B
RYAN WvNTiR is a distiiiguished
painter \vho until recently was
noted for his romantir and evocative
paintings, niainly of the Cornish scene.
His work. however, has been gradually
changing to an abstract idiom and now
hc is hokling an exhibition of near
tachiste work. at times reminiscent of
the paintings of Mark lobey. Wvnter's
new work has a good deal of the gentle
approach and delicaty of his earlier sea-
scapes, harbours and still lives. His
paintings. mysterious and at times
forest-like. remind one of scintillating
taj:)estries. at once sombre and serene.
I liked particularly I nil)rn('(}(ihh' Coiin-
try with its luianees of the unseen and
the illiniitable. />rr/; Curnnit with its
dark. sea-deep suggestions is a painting
of considerable power and imagination.
Wynter's work is (urrently showing at
the Red fern Ciallery.
# # #
TT-ir liARKtR, ai tlvL- Hanover C.allery,
^ uses extremely delicate and sensi-
tive colours in making soft outlincd
shapes of still lives, nudcs and laiid-
scapes. His work. which seenis to derive
from de Stach is geiulc. at times gay, at
times serene. One notices particularly
in Womdu htoldim^ Drapery his fme
colour sense and fecling for design.
Barker is a restful painter, he uses no
roll of drums to make a vehement de-
mand on the speclator. but with
oriental subtlety draws one into his
own World of light. (olour and perman-
ence.
The Irish painter, well known for
years in London. Louis Lc Brocquay,
is showing new canvases at (iimpcl Lils.
Lc Brocquav's tenuous presences, in
prcdominantly small pictures, iinpress
the onlookcr with a vision of white
light which emanates from his can-
ARTHUR TOOTH & SONS
LTD.
(Established 1842)
Specialists in Paintings by
CANALETTO • GUARDI
GAINSBOROUGH • CONSTABLE • BONINGTON
DELACROIX • COROT • COURBET
THE IMPRESSIONISTS
VAN GOGH • GEZANNE • TOULOUSE-LAUTREC
BONNARD • VUILLARD • ROUAULT
also
De STALL • BÜFFET • CLAVE • VENARD
31 BRUTON STREET
Cables: Invocation, London
LONDON
May fair 2920
[45}
O'HANA GALLERY
13. CARLOS PLACE
GROSVENOR SQUARE
LONDON (Tel. Gro. 1562)
RECENTLY ACQUIRED
IMPORTANT FRENCH
PAINTINGS OF THE
I9th and 20+h Centuries
April 25th - May 1 5th
GRANADOS
HEITER
VALLMITJANA
Exhibition of 3 Venezuelan Painfers
Prices on application
THE LEFEVRE
GALLERY
XIX and XX
CENTURY
FRENCH
PAINTINGS
30 BRUTON STREET
LONDON, W. I.
NJisc's. Ilis loiins ;m(l firmes. umi;iII\
l);ir('l\ (lisd'i iiihlc. Ikinc a |)('(iiliai ;m(I
iiiul ;it tinu's sinistcr simiificuKc. Ilc
is ;i subtlc piiiiiUi uho (omncns ilic
Iceliiij^ ol nioNcnicnl and ol Naiioiis
cnioiional stiitcs in a dicani-likt'. ucav-
:il).stra(t iniagcry, as in WOioidrd Prrs-
('}}((' and Fioinr in Liu^ht. Lc Bioccjuax's
luunily wnu ihc JMcniio da la Piiai-
j>ina. tlu' second lar^^csi inK riiaiional
pri/c a\\ai(k'd lor paintin«; ai die
\^ciii(c liicnnalc last ycai. wIkic he
rcj)rc.st'ntc(l hclaiid ^\ith a laiui' cx-
hil)iti()n.
Fal)ul()usl\ dn(k and licaw pis^nicnl,
whidi niarks an obscssional scnsc ol
dc'sioii, ( haia( t(.'i isc's i\\v paintin^s
whidi look (1()\\ n at oiu' in soinbrt'
lashion hoin die Avalis ol tlic lUaux
Alls Ciallcry. This is tlic fiisi oiic man
show ol a yonii^ paintei. l)a\id kossoll,
wliosc work. (juitc ohx ioiisU. is oiioiii;i|
and dceply kll. Kossoll rclics on the
licavy emotional inipad ol aiuient
thenies ol despair and ol liope. out-
xvardly dothed in nioie ( onxentional
aspeds ol the workl. such as liis seiies
ol building-site pictines.
Adrian Heath. one ol the heller
known ol the Knj^lish ahslrad painlers,
and aulhor ol Abstrdd Pd'nitiji^^, Its
Oriiy'ni /nid Mranirio-, is workin^ on
anolher hook. lliis linie on the (ail)ist
painlers. Ilealli Avill he showiiiü new
painiini^s at die Redleni (.alleix later
in die year.
fwo ol the youngcr generation of
painlers Iure in London. llarr\ Mnndv
and (iillian Ayrcs. who boih use an
abstratt idioin. nill be lia\ ini^ a show
ol llieir work in a Joint exhibition in
Sweden this snninier. (iilh'an A\res
will also be slioxving paintiiif^s at the
Redlern Ciallerx hiter this vear.
T^ni: Whitediapel Art Gallery will be
showini» paintings hy the Australian
artist Sydney Nolan hiter on in the
\ear. Nolan, whose work is well re-
[44]
eeived here and on die (ontinent, Jias
niade a series ol sirikingly orij^inal
paintint^s, (lej)i(tin,i; the iiuredible ad-
Ncntnres ol the I9lh (entmy biish-
ianj»er Ned Kelh (a kind ol aiiti-
podean Jess( janies). His paintings
make an Australian invlholo<'\ ol the
\iolent and (piixotic a(I\('iilines ol
this baekwoods gini-inan.
A showing ol a gronp ol British
artisls arranged by (Iharles Gimpel will
lake place at the Ans Club ol (Ihieago
in the lall. Painlers are Peter Lanyon,
S.mdra Blow. Rrvan Wvnter, AVilliani
Scott, Ceri Ridiards, Louis le Broquay
and Hamilton Fräser.
I he C^ornish artist Peter Lanyon
has beeil in New York recentlv for his
one-man exhibition. Lanyon is well-
known lor his near abstrad iniagery,
drawn Irom the green, gre\ and white
landscape and wild seas ol the Corn-
isli peninsula. Lanyon lives at St. Ives
with his wite and five children.
Francis Bacon, well-kiiown British
painter ol the ma(abre, whose shriek-
ing Popes have at time (aused a Sensa-
tion, is showing new paintings iiiclud-
ing portraits, in Paris at the Galerie
Rive Droite. He will be having a
show in London at the Hanover Gal-
lery next month. P. H.
BEAUX ARTS GALLERY
PAINTINGS BY
BACON, DELVAUX
SICKERT, REBEYROLLE
e+c.
May, 1957
1-7 Brufon Place, London. W. 1
PAINTING 1957
RALPH RUMNEY
Tachist-Metavisual— Abstract
Painting in England Today
a+
THE REDFERN GALLERY
20 CORK STREET
LONDON, W. 1
THE HANOVER GALLERY
FRANCIS BACON
Paintings
closing 26 April
REG BUTLER
New Bronzes
May - June
32a St. George Street
LONDON. W. 1
Cables: Hanrica, London
[45}
On C^xkibit in
e^man
^
By John Anthony Thwaites
A j'.\^^ iMoi'ii in tlic Anieiicni imi-
Mimi World will renienihcr Dr.
I.conic Rcvireis. Djicdor ot thc Dort-
niiind >riisenm. Iioiii her visit in 19.55.
A great niany niorc will rcnienibcr the
show of iiiodern dcrman j:^raphic art
which shc scledrd and \\hi(h ran. il I
rcmcnihcr riolit. tlnouoh ciohtccn
Amcricini niuscuins thc lollowino vcar.
One adnnrcd thcn her (ad ;ind wisdoni
in a\c)idino thc hloodv ficld ol the
fontcnijjorarv. All Dr. Reviers' Iricnds,
known and unknown. will bc plcascd
to hcar that the sa,oa oi Dortniund's
^^u,sennl am Ostwall has reached a
kiiid ol rliniijx, \vith thc first art-exhi-
hition (Caiiadian Kskimo s(idj)tiire) in
thc ?icw joonis ol thc jcconstruded
.i;allcrv.
l"o ;in cxtcnt which iniist hc \erv
rare, this nurscmn is Dr. Re\gers' rhild.
In 1911 iL w[\s the niin ol a h)rnier
musemn lor ait and cidtural historv,
an ini\v;intc(l possession ol the citv.
W'ith onl\ ihc niost sh;idow\ kind cif
rioht. shc o()t the help ol Russian pris-
oncrs and thc eldeilv niiiseuni attend-
aiils and l)eo;ni to rehnild. NO sooner
li.id she heen able to niove in tlian it
wiis honihed a,i;ain. In 1947. she began
<)M(c moic with private lunds: and
l)uiltu|) in thc ruin a lew roonis lor
shouin,^ (onicnipoiary art. She bccanie
their "diret tor" - with one attendant
and her olluc in a corner ol the cellar.
Froni thcn on iherc w;is no stopping
her. liv 19 19 she had (ivc rooms and a
*'galler\ " — and her shows were being
lalkcd ol lor their (jnalit\. 1951-52 was
the highj)oint ol this period. with inore
rebuilding — 'lo preser\c the struiturc"
— with |)rivate help and nuuh enthii-
siasni locally. lUit siutess has its pcn-
alties. A triie lebuilding (oidd hc donc
by thc city alone: and Dr. Rcvgcrs
found hcrscH ennieshed in the niachinc.
Froni this shc has cnieroed. with a
biiildino which ardiitectmallv is ccr-
tainly not what shc wonld have wishcd,
biit which her own creative taste is
turnino into one ol thc most delightlul
sets ol cxhibition gallerics I kiiow. If
thc city lathcrs Ict her ha\c her way
with thc cxtcnsions now. a set of ex-
hihition-pavilions in glass siuToiinding
a garden. one ol the iiglicst Ruhr towns
will have achievcd an oasis h)r which
its citi/cns will diank Dr. Rcvgcrs for
gencrations to conic.
As to thc Kskimo scnlptors. at fiist
thcv j)u//lcd nie. One nionient one
thought ol a good piehistoric collection
(perhaps slightly inniierued bv Henry
Moore . . .) thc next ol the gilt-coiintcr
on an Indian Rcscr\ati()n. A rcniark
ol the Dircctor's gave nie the ( lue. A
nnniber ol the human (iguies ha\c the
iruc. inner perception ol the prinntive,
Coming more Ironi thc bcllv than the
eye. Sonic ol the animals arc objcxts of
symj)atheti( magic. expressions Ol the
hunters will to master theni. Hm the
Kskimos arc also observers. with a
mar\('llous cjuickness ol c\c. So a avIioIc
ränge, both of thc hunians and the ani-
mals. arc simply typical: costuines,
movements and exprcssion. with an
interest as cpiickly cxhaustcd as all
ii^cjirc art. Thcn a diird group comes
Irom Kskimos in hospital. Its high
polish betrays thc other instruincnts.
At thc touch of ••ci\ilisation" naive
[46]
all witheis into "iiati\c art".
Such pieccs as a Mollici <nid ilhild
from (iape Dorset, rising in conccntric
rings of c loak. arms, hood. heads, shows
trcmcndous will to form, cvcn if it is
more alfcctcd bv the visual surfacc than
are African or Prehistoric art. Standing
(Igurcs from (lapc Dorset, thc Bclchcr
Islands and Sugluk do have the statu-
cscjuc proportions, thc formal unitv,
thc angular rhythm and almost thc wav
of (utting thc stone which Moore
Icarncd from the Mcxicans. Othcrs,
from an artist at Port Marrison. in
form, handling and depiction of the
tyjK's show an astonishingly Oriental
c haracter. Ihc animals go through all
the \ariations in quality. but at their
best have a ßranc usi-like simplilica-
tion. It is sad to think that all this
must lade soon — is fading now — but
good mcanwhilc to sec it shown. with
photos, fürs, etc.. (h'scrcctly brought in
iicre and thcre to givc a contact with
thc niakcrs and with lorins of lancl-
scapc absolutcly dillcrcnt Irom our own.
lANwnii.i: in the gallerics, thcre
^^*' ha\c beeil soiiic intcKsting coUcc-
tions shown. Ihc housc ol Hocrncr In
Ducsscldorf, one ol the best h)r graphi(
work of c\cry period. has had a group
of sc\cntv-fivc Rcmbrandt ctchings.
ranging from KkHO to \i\')[). Alex Voc-
mcl has a pendant to thc largcr Munic h
show in thirtv small paintings by thc
cighty-ycar-olci Ciabriclc Mucnter: but
I must say that the sculptuics ol \\\l-
scventv-vcar-olcl Matart'. which a(rom-
panicd them, interest nie much inorc.
Ihc Sl('('j)'nig Hü) sc in wood ot 1927.
unusiially large h)r that period, is lirsi-
ratc work. Intcrcsting rctrospectively
to coiiiparc it with the animals as sccn
by thc Kskimos: in compact vitalit\.
the subtic articulation ol h)rin and thc
use of matcrial. I think that it outdoes
their best. All thc sadder to sec this
and other finc things from thc twenties
against thc cocks, rcliefs and ornaments
of thc fiftics. with their ccclecticism
and cmpty dccorativc tharactcr.
•JF "ff tP
JULIUS BOHLER
MUNICH
Brienncrstr. 12
Paintings by Old Masters
Fine Works of Art
Antique Furniture
[47]
Günther Franke
i^lunieli
Represenfing
MODERN
GERMAN
ARTI STS
fro
m
MAX BECKMANN
fo E. W. NAY
Stuck-Villa
Aussero Prinzrcgentenstrasse 4
Galerie Aenne Abels
Wallrafplatz 3
COLOGNE
Germany
MODERN PAINTINCS
SCULPTURE
Galerie
Alex Vömel
Düsseldorf. Germony
Königsallee 42
Jawlensky - Klee - Marcks
Marini - Matare - Sintenis
and others
T^m: Ai'.NM. Abii.s (iAi.iiRN in Co-
lognc is showini» ;i lar<;(' i;r()ii|) ol
SchlciniiuTs. (ovcring tlu' \\h()k' ol his
workiii}:; lue. Thcic aic a mimhcr ol thc
wc'll-kiiown j)aintiii,t»s. sik h as llic HrsI
Ron ff} (1925), thc Üliir W'omrn (1929)
aiul thc (wYonj) of f'oinlrcu in /}na<rifi-
ary Architcdurr {WVM)), oiic ol his
finc'st works. whidi has i)C't'ii i)()ught l)\
a (icrniaii nuiscinn. Thc scrits ol watcr-
colors. thoiigh, Iroin 1924 lo I9-W, was
CVCI1 iiiorc cxciting toilcdivcly. Hoth
thc carly skctchcs, niadc I supposc in
coiincction with his staj^c work. and
thc hirgc latc walcr-coloiirs avIicic hc
brcaks \\p thc lorins (likc thc sj)lcn(li(l
Profile ifi Didironals ol 19-i2) avoid
thc tightncss ol his oils whilc kccping
sj)atial and arc hitcctuial (juality. Also
in Colognc, Theo Hill has bccn show-
ing thc rare, carly watcrcolours ol
Hc(kcl. Kirchner and Otto Muclier.
C^omini» latc, 1 loiind niost ol thcni al-
ready gone; but the lew Iclt were so
unusnal as to niake nie vcry nuich
regret niissing what nuist have i)ccn a
ias( inating cxhibition.
Also in Colognc. Hein/ Stuenkc has
i)ccn showing at his (ialcrie der S|)iej^el
thc Histoirr SatuvcUc ol Max Krnst.
Ihis will surelv rank colku ti\elv
ainon,^ his greatest \\()rks. I'lic way in
which ii readies l)a( k to thc Rhcnish
iniddlc aücs and to the Svmbolists.
then lorward to thc ifijo) iticls ol todav,
as well as the grajjhic lonc ol thc
nicces individuallv. niakcs it absohiielv
soNcreign.
So nuK h (annot. indortnnately. bc
Said lor the new oils ol Schnndt-Rott-
hiH, a do/en ol which. with watercolors
and early graphic uork, is being shown
by Frau Hckker \()in Rath at thc
Fraiiklnrter Kinistkabinctt. Still Icss —
to reniain in Fraiiklort — lor (Christian
Kruck, showinj^ at thc Zinnnergaleric
Franck therc. Having tricd niost ol
thc stvlcs. Herr Kruck seenis to have
scttled h)r a niixliire ol Klee and I)ii-
bullet. Another nirsucccsslul Klcc-inii-
tator is Rucloll Kiicgier ol Berlin, show-
[48]
ing now at ihe Lcoj)olcl-Hoes( h-Mii-
semn in Diicrcn. Jt is a riile. I think.
that those who coniiniic Klce's outward
style mulerstancl nothing ol his spirit
— or his quality.
Otherwisc, this seenis to bc the
month ior nati\e sons. Ihe niirseuni
in Wuppertal is showing Walther
Wolfl; that in Hamburg. Diener and
Lult; in Solingen, Willi Deuts/mann,
and so on. Fhe snialler (and not so
sniall) nuiseuins here secni to bc turn-
ing into institutions lor llattering local
sensibilities. An alternative is whcn
they show earh other's coUections, as
Afannhciin is doing lor the Saarland
Museum. Jliat also does not require
niueh imagination, courage or cnergy.
Otherwisc the exhibitions already re-
ported on continue to circulate: ßon-
nard no^v in (Colognc, Flartmig in
Stuttgart, the Diitch ])ainters in Wup-
})ertal, and so on. It is all rathcr like
niusical cliairs. J. A. T.
GALERIE THEO HILL
COLOGNE, GERMANY
Schildergasse 107
ERICH HECKEL
E. L. KIRCHNER
O. MUELLER
SCHMJDT-ROTTLUFF
SINCE 1918 — THE FINEST IN
CIHIIIINIIiSi ^^
C. T. L
FRANK CARO, Successor
41 East 57th Street Telephone
DR. WERNER RUSCHE
COLOGNE • BRAUNSFELD
WIETHASESTRASSE 22
(GERMANY)
Baumeister
Härtung
Manessier
Poliakoff
Soulages
Jawlensky
Klee
GALERIE
WILHELM GROSSHENNIG
Kasernenstrasse 13
Düsseldorf, Germany
• French Impressionists
• German Expressionists
"Bauhaus" "Brücke"
"Blauer Reiter"
New York. N. Y.
Plaza 3-2166
MODERNE GALERIE
OTTO STANGL
Worfcs ot
MUNICH
HÄRTUNG
POLIAKOFF
SOULAGES
ZAO WOU-KI
• MARTIUS-STR. 7
[49}
4
Kepor't front i\
ome
Ii\ Ii)A IWaiimr
A
i'AiMi R ol ilic himc ol Mario Siioni
c\( itcs oreat attention tvcrv tinie
ho prcsmis his work to tho |)ul)lic.
particularly now alter liavin^ l^een in
sedusion for so lonj^. Sironi. ^slio in
1922 toocther uith si\ other artists
inaugurated the movement that went
uFuler tlic iiame of "Noi'ocento", has
also been active as a sculptor, (le(()r-
ator. stage (lesi)[>ner and designer in
glass aiul mosai(. W'ith the passing of
years, he kept steadily refining his own
pictorial world in whidi harmonies ol
gray. blaek and white predcmiinated.
The Bussola gallery. recentlv openecl
on Via Gregoriana. just hcld an ex-
hibition ol some twenty-five oils and
temperas ])roduted by Sironi during
the past six years, somewhat abstract
compositions with figures ol men like
rocks, and rocks like men. One was
Struck by the new note in the color,
vibrant, at times joyous — and the
simpler compositions. the more direct
touch. One may well speak of the con-
temporaneity of this artist's present
production. \t seventy-two Sironi
seems to emerge in a second youth of
vigorous expression,
Anileto Sartori, at the Sagittarius
gallery is showing seventy theatrical
masks in ^sood and leather, striking
psychological studies of real characters
taken Irom the Greek and Latin thcater
as well as the *'Connnedia delTarte",
and such modern works as "The Angel
of Vhe" by Prokofiev. Ihe series of
preparatory sketches sho\\ the care that
went into the seardi for eharaeterfiil
expressioirs. Sartori has long had this
skill in the old art of mask making.
At the Bussola is one of the most
interesting shows of the moment: a
letrospective of Loren/o Viani who,
dead some twenty years, has not vet
been entirely revalued. His eolours,
spread in compact masses in which dark
ton es predominate, but otherwise
\ibrant; and his cxpert technicjue
whicli was enriched diniii" his lonir
i'arrsian sojourn, scrve a j)roloiindly
human content. The figures of the
fishermen. the ]K)or peoj)le and the
emaciated chilclren, however exasper-
ating in their Exj^ressionisi mainier,
conserve a measure and a grace that
can be defined as Tuscan, like Viani's
coinitry of origin. Sharing with his
ardent sensibilitv in the life of these
j)oor folk. the painter poet portrays
them alive and beautiful in their
poverty, as in the old man facing the
sea — with eyes like sapphires — or the
melancholy child sitting on the bench,
who excites pity and tenderness.
Aligi Sassu, a noted follower of the
pmity of color of the "Novocento",
continues to charm with his ])ictures
when he stays on his j)ath of fiery
chromatic abandon such as the three
or four outstanding canvases at the
Aureliana gallery— the Cruiijixion, a
tunuüt of red and yellow: and Horses
on a seething turcjuoise background.
When lie tones down his colors to a
purely decorative function, lie loses so
much of his warmtli and poetry as to
hardly seem to be the same painter.
[50]
\
i
Ihc photographei De Antonis, well
known in art ist ic circles for his high
professional ai)ility. exhibited a series
ol abstract pholos at the Obelisco Gal-
leiy. These are executed in a manner
all his own. which consists of fixing on
a sheet of glass certain splashes of
coloin' of an oily nnxtme in contact
Avith drops of fluid ink. The good taste
and skill of De Antonis brinir about
with this |)layfidness some surprising
results. I'hey are photographic images
conipaiable to cosmic: visions and
galaxies ol stars, \\ith niagic eflects of
(laiity and a sense of space and
distance.
At the Medusa gallery is the work
of Pompilio Manck'lli who is linked
with two other painters in Bologna in
a new trend in the clirec tion of a kind
of im})ressionist abstrac tionism which
evokes moocls of nature through the
use of seasonal color tones and elTects
of light.
Another abstractionist is Antonio
Scordia showing at the 1 artaruga gal-
lery. Here we find greater turbulence
of color, brilliant turciuoise and fierv
reds bursting the bonds of a rigorous
formal design.
Orfeo Tamburi. who has lived for
years in Paris. Irom time to time ex-
hibits in Ronie the canvases he paints
in the French capital. l'hose on \ iew
at the Vantaggio gallery depict cjuiet
little stieets, or the banks of the Seine,
treated realistically in delicate har-
monies of chaste colors. Also at this
gallery are views of Naples by (iiacomo
Sangiorgio, impetuously painted in
rather violent colors and bordering too
close to the obviously picturescjue.
Luigi De Angelis, also known l)\
the Pseudonym of "Barbiere dlschia'
(the Barber of Jschia) because of the
trade he followed for many years on
diat delightful island, sliowed a selec-
tion of his work — all drawn from the
everyday life of the people of Ischia -
at the Fontenella gallery. Weddings,
tipplers dancing the "intrezzata", "puli- _
NAVOCy©
Carlo Cardazzo. Dir.
Agent for
BACCI - BURRI - CAMPIGLI
CAPOGROSSI - CRIPPA
FONTANA . GENTILINI
MUSIC - SCANAVINO
also works by
Balia - Malta - Brauner - Jörn
Ifalian Futurist and
Metaphysical Painters
VIA MANZONI. 45
MILAN. ITALY
In Rome:
Galleria Selecta. via Propaganda 2
In Venice:
Galleria Cavallino. San Marco 1820
GALLERI A
VIA BRERA 14, MILAN
Aimone - Baj - Birolli - Borra - Cagli
Campigli - Cappello - Carra - Cassinari
Consagra - Corpora - Crippa - O'Angelo
De Chirico - De Pisis - Fabbri - Fiume
Fontana - Gazzera - Giovanola - Guidi
Manzi - Migneco - Mirko - Monacheti
Morandi - Music - Musso - Peverelli
Prampolini - Rosai - Sassu - Severini
Sironi - Valenti - Vedova - Zuffi
One-Man and Group Exhibitions
Catalogues senf on request
[31]
ROME, ITALY
SCHNEIDER ART CALLERY
(American Management)
RAMPA MIGNANELLI 10
On sfairs behlnd fhe American Express
Direcfor: Dr. Robert E. Schneider
A reliable Consultant
for collectors of
selected contemporary
painting
and
sculpture
modern
paintings
and
sculpture
I -<
PIERRE MATISSE
41 E. 57 NEW YORK
(inc'lhis" doiuL» tluir ;i(i.s. nnd otlicr
livcly srciR's makc iij) liis subjccts. He
avoids ilic j)i((urr j^ostrard prcttincss,
wliidi natuic in tiiat rcgion posscsscs,
by iising a ratlur gitv. nuhiiulioly
palctte as (hastcncd as tlic rcality is
exubcrant. lUit wli;it rrallv iiivcsts' bis
paintings witb a tone bing (bann is tbe
siruc'ic naive lantasy and tbc inj^cnuous
aflFection bc Icels for bis localc - the
(bildliko in.gcnuousncss \\in'(b be Iias
not lost in Jiis scvcnt\-fi\t' vcars.
The various pbases dirough winch
the painting ol tbe Vmerican, G. F.
Tempest bas passed are aniply doc-
umented in tbe Schneider (;allery.
Starting Ironi a rather sophistieated
portraiture through expressionism to
the al)stractionisni in which he shows
a grcat technical tapacity, the exhibi-
tion surveys the deveh)pment of a high
Order ol skill seeking newcr anistic
(f)ncepts.
LA MEDUSA
G A L L E R Y
124 VIA DEL BABUINO Tel. «80850
ROME (Italy)
CLAUDIO ALBERICO BRUNI. DIR.
ACENT FOR SADUN
WORKS OF DE PISIS - GUIDI
MANDELLI - MORANDI - QUACLIA
ROSAI, ETC.
SCHWARZ
via S. ANDREA, 23. MILAN
Paintings by
ALBERTO MARTINI
( 1876 > 1954)
ABSTRACT ART ^ SURREALISM
[52]
i
JM<K\Ii:\\S IN NEW YORK
{Conti jined frofii jxiire 27)
T ii.v Kallav, whose j)aintings ^verc
-"^shown at tbe WeHons Gallery last
month, tonibines expressionist bold-
ness ol design and color witb a \varnith
of ieeling ior the poignant dement
in people, leading to striking residts
exeept when sbe overstrains b)r a styh-
/ation ol teclnn'(pie. There is a lot Of
experinientation witb various odd-
ments of textin al treatnient: once tliese
are out of her System and she settles
down to less technically obtrusive
methods, she should be well on her
way. C. Z. O.
• • •
JAV CoNNAWAV is a devotee of the
rocky (oast of Maine. Gale, snow
and rain. sunsbine and mooidight over
the surf, and the toiling of inen who
bandle fragile boats serve as his Inspira-
tion. Althougb tbe approach is realistic,
as in Seine Ilodf and the nioiunnental
Moofilit Skies, it is far froui photo-
graphit. lieflectioiis — Winter is al-
niost senii-ahstrac t in its siniplicity. At
the I\enned\ Galleries. R. F.
F
* « *
RLDLRICK Cinii.DS is esseutiallv a deco-
rative painter who attains strong.
dramatic effects through a dever niani-
])ulatio!i of ligbt and dark values. The
style of his Avork, sujierficially remini-
scent of Picasso, is tastefid and visiially
appealing in (olor. His niost inventively
coniposed still-life arrangements are
Knchina and (lords and Sxceet Williams
and Foxij:;lovc,s. Tlie few figiire stiidies
in the show are the weakest, falling
into rather formal patterns of slight
artistic merit. At the Passedoit Gallery.
A. N.
W ^F TP
T I Oi\oR Fim's paintings, at the Gal-
^ lery 7r) (Ai)ril 22nd to May 15th)
represent a kind of symbolic reahsni
in whieh tbe objeet or figure— tbe single
important dement in her craft — takes
on overtones of meaning by virtue of
GALLERIA BERGAMINI
CORSO VENEZIA. 16
MILAN, ITALY
Works of
Boccioni - Campigli - Carrq
Casorati - De Chirico - De Pisis
Morandi Rosai - Sironi
Soldati. etc.
GALLERIA ANNUNCIATA
VIA MANZONI 46, MILAN • Tel. 791102
ITALIAN & FRENCH MASTERS
BIROLLI
BROGGINI
CASSINARI
GUTTUSO
MELONI
MORLOTTI
SPILIMBERGO
TOMEA
galleria pater
works of:
AFRO
BIROLLI
CAPPELLO
CASSINARI
MUSIC
VALENTI
GALLERIA
CÄOROLÄ
VIA SPIGA 30. MILAN
Tal. 794286
CONTEMPORARY
ITALIAN MASTERS
Paintings - Sculpture - Drawings
[53]
NEW PAINTINGS BY
LOUIS BOSA
thru April 13
MILCH ,«,t^ii«'«,
From April 15: JOHN WHORF Watercolors
WELLONS GALLERY
noon fo 8 pm
17 E. 64 ST.
CHARLOTTE
ORNDORFF
WATERCOLORS
April 1-13
FULBRIGHT
SCULPTORS
April 15 - May 4
its isolatc'cl. cmico liko s|)C(iiicity and
its iinihimioiis dctails. \\v\ drcains arc
ii^ivLU Status i)\ siio^tslions ot such past
iniagcs as Craiidi's swollcn-ln'llied
Eves. or j)C'a(()( k cloaks ol latc nicdicval
rashioii. hl her perverse syinhohc ^\•()rhl
a|)pear greeii-eyed wonien wiih hare
lorelieads and hound hair. whose ( lotli-
inj:» niay ^ro^ liom tlieii enaniellcd
ilcsh; youths, (ii j)rcy h)r the Sphinx;
l'antastic niouniains h"ke (orals or oil-
(K)/ing sp()n.^es. A. ß. I,.
"North and Soutli Ainericans and
Kuropeans" is the sj>a( ious title ol the
Group at the Meh/er. \ divcrting cx-
aniplc ol the in\('nti\e or the in-
.t»ein()us is the white reliels ol Clarlo
Nant^eroin. The inteiestin«;> and self-
tau^ht Miranda's V)ititli'd X umher
One is diarac tcristic ol this Ar<»entin-
ian artisi — disereet and ahnost anonv-
mous <>reens duindlino into a ni^ht-
(olored hlue. A lellow South Ameri-
can, /uleiua DauiianoN i( h, presents an
CMiioniatic Xino linvuclto, canvas
niountcd on canvas, and Kchvard Lan-
don olfers a series ol wood carvini^s.
Mariusa \er Bru^oe's reticent still liles
are clonicstic ancl soher and P. Sc haar,
a Polish painter. adcls a c irrusy tone
to a tastelul and (juieth uinTiccl exhi-
l)ition. ' G. S.
/^oNsiJi.Lo Cloos paints Irom a purcly
^^ iiiAvard inipulse: hence her ^vork
(an he viewed only as cxpressing ino-
nients in the liheration ol personal
l'eeling. concentrated hut not directed.
The major lorm in eaeh ^\()rk scems
like a colony ol nn'croscopic organisms
in elndlition; harmonious color
growths often lacccl with gold, seen in
the process ot some minute extravasa-
tion. The sensations provided by her
work, at the Cadan Gallery (April 8th
through 28th), are so intiinate as to
escape at times, but these mystic blos-
sonis are still very pretty in their deli-
cate. exotic coloring. A. B. L.
t
[54]
LM.i/Aiu in Kri.anükr's group ol water-
^* color ancl gouaehe paintings at the
ßodley (.aller'v (A|)ril i:)th to 27th),
result Irom a trip through the North-
west. Canada and Alaska. Ihc hril-
liant backgroinid washes appear to be
seen through sonie thick transparent
medium traversed hv Irattures, whose
daik and hlurred lines ellect an or-
gatn'/ation ol the conipositioii. One ol
the most successlul is the Mouni Edith
('.(nx'lL the harsh rhytlmis ol arete ancl
icy slope beiug well c\j)ressed in this
devicc. A. li. L.
# # #
/^^HAki.is 1.. Marmn. the Xcw Yorker
^^ cartoonist idemihecl l)\ his initials,
has a group ol siuall watercolors and
gouaches at the Ruth White Gallery.
These landscapes depict Monhegan
Island, its rocks, woocls ancl sea. Ihey
ränge in style Irom the il lustrational
gouache V7/r Brook to hold semi-ab-
strac tions such as Squccher Cox'C. Most
successlul is Sunlit (.on'cin which color
applied in rihbon-like bancls ellec ti\ely
suggests sun on water. H. I). M.
# # *
TJoi'.iRr (iAiis appears to have made
^ his personal trucc with |)olenn"eal
modernism. llis souncl ancl pleasing
^\'ork may be seen at the (iadan (iallery
through April 7th. A late-de|)artecl.
gentle cubism appears in the gouache
studies ol imdes, Irac tioned ancl ara-
bescjued. Ihe landscajies are built in
iike mainier Ironi tragnients ol reality,
their almost roinantic note due to the
sensitive tiansmission ol colors in na-
ture. White Sun, lor example. j^oetical-
ly reali/es a niood in rectangular
patches ol velloAv ancl orange lilmed
\\\{\\ l)ron/e, illuminated bv an immcj-
bile, staring white. A. !>. L.
# # #
1\ Tai.coim CioRDON Andkrson spreads
paint eveidy, in nicticulously per-
leet scjuares ancl oblongs. in brovvn,
bull, black, gray and blue. These oils
at the Pietrantonio Gallery (April 16-
30) suggest (ompositions ol tuiniels or
OSVER
RECENT PAINTINGS
April 23 - May 17
CENTRAL MODERNS
1018 MADISON AVE., N.Y.
at
79th ST.
To April 13
THE
PETER A. RUBEL COLLECTION
OF
MODERN FRENCH MASTERS
Opening April 15
PASCIN
and the
SCHOOL OF PARIS
PER LS
GALLERIES
1016 Madison Ave.
New York 21
t55]
i Hh^
RAOUL DUFY "Vemef-Ies-Bains"
MODERN FRENCH PAINTINGS
ROUAULT * GAUGUIN * MATISSE
Renoir - Lautrec - Picasso
Dufy - Vuillard - Bonnard
Dalzell Hatfield Galleries
Ambassador Hotel, Los Angeles
FRENCH & CO,
• N C <) W P (' (; A T c l>
onc of thc World 's
most extensive and distin^uished
collections of art
210 EAST 5 7th ST., NEW YORK
PAUL VALLOTTON
s.o.
LAUSANNE
6 Gd. Chene - Switzerland
PAINTINGS
XIX and XX Century
(MHinKcs, and iiii^lu seiAc as clciora-
lions in uhranioderii officcs. No emo-
tional (ontcnt scciiis lo lia\(' bccn
iiitcnded. R. p.
* * #
r^TCK SiARK. j)lasti( siir^eoii-dini-
paintcr. is iicilhcr a priniili\i' nor
a j)ror('ssi()naI. IIowcNcr. Iic is probabh-
nol stii\insj; to bc ciilici. I)ui sinijih to
transniit his picasuic in thc coniposi-
tions lorniecl by figurcs oiouprd in a
l)asc'ball (bij^out, leanin^ into thc rain,
workiiio (Hit at thc "j^yni '. Cubaii sccncs
coniplcment tlic laniiliar siibjerts. His
pcnchant b)r long horizontal canvases
suggcsts an annahlc and Icisuiclv view,
as do his liirht. simple colors. At ihe
Ward l.oglcston Ciallcrv. April 8th to
^^<^^J^. A. H. L.
# * «*
JKANM. Kronman's ( ubist-( rvstalliue
oil painiings, ai thc Chase Gallcry
Startino April ir>, are oec asionallv dra-
inati( senii-absiradions of strurtures,
su(h as thc brokcn-down picr in T/ie
Clun-iK Icr of tlir Connmniity. A cokl,
wintry niood doniinates Janunry Tlunc;
thc brioht /iynroit.s hifnisiof? secms to
(Jttdi a rock) inountain in the act of
niotion. j^ p
* * *
T^). .\K^(>rl)-KA^sl k knows how to siig-
gcst deep Space with horizontal
and verti(al lines and a few deltlv iii-
trodueed hobt tones. Rendering the
stylized skeleton of the thcnie, her
(i/iost l'lccl is espccially hlic itous. The
intcrwo\en calligraphy of Xightfall
expresses thc darkcning- of the skv inid
(rcates a niood of traiujuillitv. At the
Pictrantonio Gallcry. (rntil April 15)
R. F.
* * •
\ xxn; TaNNv's work (at the \Vard
^ ^ Kgok'ston (;allcries April 22nd to
May 4th) niight be ralled genrc iiature
l^ajnting. Jjcr sensitivity' to anthro-
poniorphie moods in nature perniits
her to cxpress, for exaniple. thc lusty
hopcfnlncss of blossoming hin't-trccs
[56]
i)l()\\ing against bright sun in spiing.
l'^xcepi whcre thcy arc adjuiuts to the
Avoiid of landscapc, as are the (lots of
iittle figiires wbecling o\('i a inoonlit
skating j)on(L her liguics are duller
^chi{le^. A. ß. L.
T^ Aiui-Sii knk's first one -man show at
^^ thc ßurr (iallery in( Indes ihirty
oils. mainly lealistic landscape>. Ihc
(oloi is bright and bea\ily a[)j)lied. A
Si( iliaii Street sccnc (onvevs animation
in more restrained color. Hei \cw
^'ork vicws aie less su((Cssful than her
Knropean scenes, wbidi are stated with
\cr\v and assurance. H. 1). M.
Ti<\L\(. Nlrick frankly cnjoys pietur-
es(pic Street (orners, trees, loofs, the
winding River Seine and otlicr subjctts
t\|)i(al of France, with a lone fimire
hcre and therc. liuc de Tours is pcr-
ha[)s thc most solid of these nostalgic
oils shown at the (Jiase Ciallerv initil
April \1\. R. F.
* • •
T 1 ANDRo Dii.cADo cxliibits water-
^^ colors for the first timc, at the Lynn
Kottier Cialleiies Irom April 15 to 27.
Dune (lud Sra and Hiiih Point are well
constiucted and sj)ontaneous but all
these acjuarellcs lack textural differen-
tiation. Sk\. sand, water and houses are
all done in the same licjuid niainier.
R. F.
# # #
Maiilyn klcinman, Adrieinic (iamilli
and Bcrincc Winn, showing at the
Bnrr Galler\, arc intercsting Student
talents, not fully arrivcd. Klcinman's
(ity baekyard in subdued colors shows
subtlety of liandling. A Wnice seene
of gondolas silhouetted against thc
lagooii by (iainilli revcals a scnsc of
the pic turescpic, but its promisc is not
dcNclopcd. U'inn, a niore real ist ic
])ainter, uscs \ew \'()rk (iit\ motifs,
and is inclined to oxerstate her ihcine
in glaring color. All show the influcnce
[57]
PORTRAITS, INC.
PORTRAIT CENTER OF AMERICA
l^r. F 5^TK STREET, NEW YORK
f.ors Shaw Helen Appi.eton Read
I JULIUS LOWY
Frame & Rcstoriii^ Co.,
Inc.
F'Eninn fr/\ml'j
nE.'iTnniNn
l??n üi!i:iiiid All!,, IVi!w Yiiil.
(Bet. 64Hi and 65th Streets)
LE 5 - 5250
NCIHI
NlTDlNiG
CULP^TUl^
of the 19th & 20tli Centuries
FINE ARTS ASSOCIATES
41 East 57th St. (I6th floor) N.Y.
PENNA. ACADEMY of FINE ARTS
PAINTING - SCULPTURE
MURAL - ILLUSTRATION
Scholarships (European Study)
Degrees
Write: R. K. ENTENMANN
Broad and Cherry. Phila. 2, Pa.
JOHN
JOHN
JÄCüL
April 6 - 26
R©©K
April 27 - May 16
Kanegis Callery
134 Newbury Street. Boston. Mass.
modern and
traditional
frames
expert
restoring
ol llicii ;il)li' (c'iuluT. fciin Lihcrtc.
II. I). M.
# # #
^T^O lU. RIMI Wl'.I) M Xr MONI II l)C( aiisc
tlu' wölk \\;is not ;i\ail;il)lc* in tiiiic
loi- |)rcvicA\ iiij4 in tliis issuc: W'illiaiii
(.i<)|)j)cr at llu" A.CA.: "Myslicai Paini-
iiijL's" at thc liuii; Maiini ;it TIr- (>)1i-
triiiporaric's; (ili;iiiii (iross at Dunxcii-
(iraliain: Laiiskov at Kinc Alts Associ-
ates: Xccron at Rose Kricd's: 1 rccxani
at [olm llcllci (.alk'i\: II. l,;iii(' ;i(
Kciiiu'dx's: [oliii llclikcrat Kraiisliaai:
"(iood Diawino" ;it ilic Midtown:
Roiiauli paintin^s, Knia W'cill sddp-
tuic at S( hoiuinans: Kciiipc and Oni
doi 11 at tJR' Wciloiis: (iaficdo ;it tlu'
/odia( : scuiptmc l)\ S\l\ia S. [iidson
;it tlic Sddpimc (iciitti: pii/c ;i\\ard
sliow al tlu- l*cii and Üiush: Diuuliol
iit ilu' ncAvK opcncd [nstcr (.;ill('r\:
(ilaudc X'isc'iix ;it I .co (iastclii's: Marcel
S;ilinas ;it ihc Ihniniicr (i;ill('r\.
JJ.
em an
d fixere
D
i iRoii. Mr. and Mis. lUniv Ford
II h;i\(' niadc tluir first <^ilt ol ;i
wölk ol alt to tlic Dciroil Institute ol
Alts, a Rcnihraiidt piiintint^ cxccutcd
l)\ tlic aitist in his pciik and latc
pciiod. (ialk'd .7 Woinan MV'r/;/;/«^. tlic
siiiall pi( tnrc is onc loi whidi his niaid
I Icndric k jt' Siollcls poscd. Oiily 8i<> x
WASH DRAWINGS BY
April 9-27
CARSTAIRS GALLERY
11 East 57th Street New York City
[58]
()i., " in si/c. tliis poriiait biinj^s thc
Detroit Institute ol .\its eollection ol
Renibrandt paintinf»s to a total of six.
Mrs. Ford receiitly accepted a position
as a I'nistee oi the Detroit Museum ol
Art Founders Society, an organi/ation
whidi (ontrihiitcs in lar^e part to thc
Institutc's su|)port. I he Ford laiiiily
have h)r iiianv years been iin|)ortant
(ontrihutors to thc ninscinn.
*
*
XTi.wARK. N. f. ''Early Xc'W Jersey
^^ Artist s'\ an exhihition ol paintin^
and sdilpturc hy artists who lived and
worked in New Jersey during the 18th
and 19th (cnturics, is an iniportant
exhihition ;it thc Nevvark Museum.
I hrough extensive research over 1000
iiames of New Jersey artists have been
uncovcred. and works by more than
100 of these. most of which arc oii
loan, are shown in the exhihition whidi
is ini|)ortant not only as an extensive
|)iesentation of cxaniples of these ar-
tists. but also as a (ontribution to
VAN DIEMEN-LILIENFELD
GALLERIES
21 E. 57 St.. N. Y. C.
Madeleine RUPERT I
To AprÜ 12
ANNIE
ART STUDENTS
LEAGUE OF N. Y.
announces Summer Schools in
Woodstock. N. Y.. and
New York City
June 3 — August 30. 1957
fwsfructors In Woodstock
Arnold Blanch
Edward Chavei (July only)
Zygnnunt Menkes (August only)
Frank J. Reilly
/nstructors in New York
Charles Aiston
Richard Bov6
Dagmar Freuchen
Morris Kantor
Bernard Klonis
Frank J. Reilly
dra wing /painting
illustration anatomy
fashion illustration
PULL OR PART TIME REGISTRATION
Write er phone for free catalogue
Stewart Klonis, Director
215 W. 57th. N.Y.C. Circle 7-4510
LEN N E YMARINI
Paintings April 22 - May 4
Ward Eggleston Calleries
969 Madison Avenue (at 76th Street)
THE CONTEMPORARIES
992 MADISON AVENUE AT 77 STREET
molcolm gordon
cils - pencils
ANDERSON
PIETRANTONIO
2i East 84th Street April 16-30
CLEVELAND
Institute of Art
»KOriiilOMÄi/
Training/ h
[59]
MAGRITTE
+hru
Apis lOLAS • 123 E. 55
NEJAD
fhru
Apr6 ZODIAC • 123 E. 55
ROBERT April 9 -30
ICE YSER
parma
gallery im Lexington Ave.
BURR CALLERY ^p;'"
- May 4
108 W. 56 ST.. N. Y. 19
Marilyn KLEINMAN
Bernice WINN
Adrienne CAMILLI
MAY
Paintings
HEILOMS
April 8-20
Petite Galerie '"^c"
ERNESTO
Ist N. Y. Showing
TRECCANI
jchn heller «^^llery
' 63 E. 57. N. Y.
know Icdoc oi tlic hisioiN ol New [t-rsey
;iit. Works l)v siuli notcd artists as
Asiur 1). Dmaiid. [oliii (. Aiiduhon,
(icorjL»!' liiiu'ss. William Raniity.
W'oi thiii^lon \\'himc'(l,nc'. pispcr (Irop-
scv. Roheit W. W'cir, (icoioc Catlin.
IlcniN limian and [olni Walson aic*
iiKliuicd. (() iianu' a [vw.
* * *
\ ^\\siii\(, ION. 1). C. I he National
(.ailciN ol Art has accjuiicd toi its
pciiiiancnt (ollcdiou a maslcipircc l)v
Oo\a. du- lidl-lcn^th. lilt-si/c portrait
ol \'i(tor (iiiyc, wliidi. tliiou^Ii tlic
( oin tt SN ol thc lu'iis ol |. Iloiact- llard-
ino. has bccn on loaii at tlic (.allrrv
siiKc l!)l(). Ihitil aboiit \\)\:\ \\\v pi(-
tmi' rciiiaiiK'd in tlic sitttr's taniilv.
SiiKc dun it has hccn show n in a
inniibcr ol iinpoitant cxhihitions. It
iiow han^s in Cialk'iv (il ol thc Na-
tional (ialkr\. IIr' j)aintinj^ was Kpro-
(hi(((I on ))a,t^c 10 ol thc .Nhinh W)')!
issiic ol Pi(hn('s on Exhihit.
FRED
MESSERSMITH
First Showing
April \-\3
barzansky galleries
1071 madison avenue at 81 st.
DAY April 2-20
SCHNABEL
SCU LPTU RE
BETTY PARSONS
Gallery • 1 5 E- 57 St.. N.Y.C.
B. ARNOLD-KAYSER
April 1-15
PIETRANTONIO
26 E. 84 St., New York
/^isi\A. An i n l (• 1 n a l ioiia 1 cxhi-
hitioii. "All and I.aboin". is bcing
orj>aiiist'(l in (iciu-xa this sininiui bv
thc International Labonr Organisation
on the (Hcasion ol tlie 2r)lh ainiiversarv
ol the death ol Albert I hoinas. thc
first ILO Dircetor. M. (icorgcs Sallcs,
I)irc( toi-C.cneral ol I'kiuIi Miisciinis
and President ol the International
Comuil ol Museum, will preside over
thc Organ isinj^ Clommittcc, with Dr.
R()cll, I)irc( tor ol the Rijks-nmseuni ot
Amsterdam and M. Pierre lioulfard.
Dircetor ol the (iene\a Musee d'Art et
d'llistoiic, as members.
J he (;enc\a c ity aiithoritics are co-
operating a\ ith thc ILO in oiganisino
thc exhibition whieh will bc hcld in
tlu' (ity's Musec d'Art et d'Histoirc.
Ihe exhibition will bring together Ibr
thc first tinic oil paintings. ^vatcr
colours, drawings. engravings. sculp-
tmes and dccorativc works Ironi all
parts ol thc world depieting human
toil. ILO Dircctor-Gcneral David A.
The DOWNTOW^^Mc
* f * G A L L E R Y , c
32 East Bist Street New York
Edith Gregor Holpert, Dfrector
DAVIS
DOVE
KARFIOL
KUNIYOSHI
MARIN
O'KEEFFE
SHAHN
SHEELER
SPENCER
WEBER
ZORACH
WM. HARNETT (1848-1892)
AMERICAN FOLK ART
WILLIAM
GROPPER
Recent Paintings
April 22 -May 11
ACA CALLERY • 63 E. 57
CONSUELO
April 8-29
ELIZABETH Y. April! -I3 _ ^^
TASIHIJIDAIN C L O O S
oils - postels - drawings
LYNN KOTTLER GALLERIES
3 East 65 St., N. Y.
cadan gallery
150 EAST 78 Weekds. 10-5, Sun. 3-6
HARRY LANE
NATURE PAINTINGS
to April 20
Kennedy Galleries * 785 Fifth Ave.
LEANDRO April 15-27
delcäd©
WATERCOLORS
LYNN KOTTLER GALLERIES
_ 3 EAST 65 ST.
E. & A. SILBERMAN
GALLERIES. INC.
1014 MADISON AVENUE
NEW YORK 21
PAUL
Paintings
BRACH
April 15 - May 4
LEO CASTELLI - 4 E. 77 2-6 p.m
[ r.() ]
[61]
< PAINTINGS OF PARIS
I IRVING
NURICK
April 1-13
PAINTINGS BY
Morse h;is invitcd ihc OrgiUiisalion's
scvciily-scvcn incnibcr (oiiiitiits to louii
works ol ;nt to tliis t'\hil)ii.
JEANNE
C
• • •
^hi(;a(;(). In cclcbialioii ol ils TjOiIi
KRONMAN
April 15-27
1 CHASE CALLERY »
21 EAST 63. N. Y.
thru April 27
RIVERON
SUDAMERICANA
866 Lexington Ave. (65 St.)
Masterworks of ^
ÄNCDilMT V
Pil^y 4fh.l4fh Cent. ^^1
DELACORTE GALLERY
822 Madison Ave. at 69th Sf.. N. Y.
\
annivcrsary, thc Pic'rj)()iit Morji^aii
Library ol New York lias seilt on toiir
ol thc IJnilcd States, lor tbe first tinie,
an exhibitioii eoiisistinj» ot 108 mag-
nificent art oi)je(ts. selectecl to sliow
llie ian,i;e and (juality ol the library's
eollection. I/he exhibition, "l'reasines
Ironi tlie Pierpont Morgan Library," is
])eing hold at the Art Institute here
tbron^h April 10.
* * «
TJousroN. Mr. (ieorge \V. Staeni|)lli,
(iurator ol the Museum ol I'ine
Arts ol Houston. Houston. 'lexas. has
l)een appointed C^oordinator ol the
Line Arts I*roj;^rani in the Ollue ol the
U. S. (>)inniissi()ner Cieneral to the
Brussers W^orld's Fair. Mr. Staeniplli
will direct with the assistance ol a
rnnnnittee ol American Museuni direc-
PAINTINGS
ERNA WEILL
SCULPTURES
April 23 - May 15
SCHONEMAN • 63 E. 57
ELIZABETH
HONDIUS iükNCER
+0 April 13
BABCOCK GALLERIES
805 Madison Avenue (68th St.) N. Y.
April 15-27
BODLEY GALLERY 223 e. 60
GALLERY 32 E 65
TÄM
To April 13
NEW WORK from April 15
WATERCOLORS & GOUACHES
April 2-27
Charles E. MARTIN
RUTH WHITE CALLERY
42 EAST 57th ST.
N.Y.C.
[62]
\
tors, the American fine arts program
at next \ear's exj)osition in lUlgiinn.
# # *
\Jiav ^()RK. "Rirds and Reasts". a
'^ show ol animals in prints which
has opened in the third floor Print
(iailerv ol the Public Librarvs Filth
A\eime biniding. Covers six c entin ies
ol print-making and most members ol
the animal kingdom. Beginning with
early niasters like Dürer and (danach,
the show langes up through tinie to
inclucle the uork ol VVencelaus Hollai,
fohann Ridingei, Cioya, Delacroix,
I'oulouse - Lautrec, Honnard Picasso,
Kokoschka, and Antonio Frasconi.
K\'ery lorni ol print is represented.
Karl Kuj), (lurator ol the Print ( Col-
lect ion, who arranged the displax. was
j)roni|)ted to do this exhibition by the
üieat \ariet\ he lound in aitists' coii-
ceptions ol animals. "I1ie selection ol
the se\c'iity-n\c' prints shown was niacle
j)inc'lv Oll the basis of illustrating dil-
lereiucs ol c onccplion," he states.
MAURICE
BECKER
April I - May 4
HARTER! «f, h^,'»i^*
ROBERT D. April 15-27
McBCniNIINIiY
OILS
LYNN KOTTLER GALLERIES
3 EAST 65 ST.
Jaen isch
NEW OILS • April 22 - May 18
KLEEMANN 11 E. 68
Group Exhibition
March 19 -April 15
NORTH & SOUTH AMERICANS
Rainung, by & EÜROPEANS
Bertrand • Damianovich
Doucet • Kiley • Miranda
Nangeroni • Robbins
Schaar • Verbrugghe
Wood carvings by
EDWARD LANDON
MELTZER GALLERY - 38 W. 57
CLAUDE
First American Showing
VISEUX
thru April 13
LEO CASTELLI - 4 E. 77 2 6 p m
JUDSON
SYLVIA
SHAW
April I - 30
Sculpture Center 1 6? e. 6?, n
. Y.
BURR CALLERY ,^';;
108 W. 56 ST.. N. Y. 19
PAINTINGS
DAHLI-STERNE
XCERON
COMING: BERNARD CHILDS
ROSE FRIED • 40 E. 68
= DICK
STARK
Paintings April 8 - 20
Ward Eggleston Galleries
969 Madison Ave. (at 76 Street)
[63]
jl
PAINTINGS
April 8 - 27
SHAW
PASSEDOIT '" ' "• **' ^
bef. Park & Lexington
UiLHJX Galle]
««:i Fiflh Ave., IVew York
(I>lear S4ih St.)
W^^
new
April 9-27
print
acquisitions
DEITSCH C ALLER Y
51 EAST 73rd STREET, N. Y.
ALFRED
RUSSELL
recent painfings
to April 13
DUVEEN-
"1 GRAHAM
1014 MADISON AVE., N. Y.
APRIL EXHIBITIOIVS
IN NEW YORK CITY
(Continued from inside front cover)
PARKK-BERNET, 980 Madison Ave. 18th and
Eaily liith Century En«Iish Art Ohjects,
April r).12 ; Arms and Arrnor, April 12-17;
French Furnitui-e and Decorations, April
13-KS ; isth Centuiy French Paintin^K, Riips,
Silver, etc., April 2()-2<).
PARMA, IUI Lexinfffon Ave. R. Keyaer
Ai)ril U-lii),
PARSONS, lö E. 57 St. I). Schnabel. April
^'^':i^^J^- 'l'»>''"'-' r>- Stuini. from April 22.
PASSEDOIT, 121 E. 57 St. M. Siovan. to April
<) ; C. Shaw, April S-27 : J. M. Hanson, from
April 29.
PEN AND BRIJSH. 1« E. 10 St. (Iroup Show
ot Oils : to Apiil «1; Prize Award Show,
April 14-30.
PETITE. 129 W. .-,« St. J. S. Snmrt. to April
« ; M. Heilonis, April S.20 ; F. Bosc, April
22 - May 4.
PIETRANTONIO, 2« E. 84 St. Kayser, April
l-lf); Anderson, A|>ril \V>-'M).
PERLS, 1016 Madison Ave. P. A. Rubel Col-
lection, to April 13; Modern French Paint-
inpfs from April 1.').
PORTRAITS, INC., 13« E. 57 St. Contempor-
ary Portraits.
PUBLIC LIBRARY, Fifth Avenue and 42 St.
Henri, to April i:, ; Prints of "Birds and
Beasts."
PUBLIC LIBRARY, 10 Seventh Ave. So. A.
(Juerin, April 4-3(».
REHN, 683 Fifth Ave. Watercolors, to April
12; (Ii-oup. from Apiil 15.
Prize Award Exhibifion
CLARA HAAS
WATERCOLORS
EDNA P. STAUFFER
(Memorial)
GRAPHICS
April 14-30
PEN & BRUSH 16 E. 10. N. Y.
CANEDO
Paintings and Drawings
April 8 - April 27
ZODIAC GALLERY
123 East55 Street
f
)-i
RIVERSIDE MUSEUM, 310 Riverside Drive.
"Cialleiy '27A\". to April 21.
K()SENBER(;, 2(1 E. 79 St. F. Farr Sculi)ture.
Ai)ril M - May 4.
SAIDENBERG, 10 E. 77 St. S. lUow. \V. (iear.
to Aixil () ; Lynn Chadwick Sculpture, Ai)ril
>s - May 4.
SAVOY, 5 E. 59 St. Old Master Drawinps,
April 30 - May 3.
SCHONEMAN. 63 E. 57 St. Rouault Palnt-
in^s, E. Weill. Sculpture. fiom Aj.iil 23.
SCULPTURE CENTER. 1<;7 E. 69 St. S. S.
Judson Sculpttiro, April 1-30.
SILBERMAN, 1014 Madison Ave. OhI and
Modern Masters.
SUDAMERICANA. 8r,6 Lexin'-ton Ave. V.
Zanctti. to Ainil 6 ; K. Rivcrcjn. April S-27.
WEAR, 43« Madison Ave. P. Mark, to April pi.
VAN DIEMEN-LILIEM ELD, 21 E. 57 St. M.
Ruperti, to Apiil 12 ; M. Padun. from April
21'
WELLONS, 17 E. «4 St. M. Kanii>e. Sculi)ture.
to Apiil 13; C. Orndorir. to April 13; Ful-
brij-'.ht Sculi)tors, April lö-Mav 4.
VVEVHE, 794 Lexington Ave. R. Poz/atti. to
April 10 ; (Iroui). Ai)ril 1 1-30.
RUTH WHITE. 42 E. 57 St. C. Martin. April
2-27.
WHITNEY MUSEUM. 22 W. 54 St. • Younk'
America", to April 14 ; H. Hofmann Reti-o-
spective.
WIDDIFIELD, 818 Madison Ave. X. (;onzalez,
to Apiil 20.
WILDENSTEIN. 19 E. «4 St. Old and Modern
Masteis.
WORLD HOUSE, 987 Madison Ave. Piancusi.
(JauK'uin and Rodin.
ZODIAC. 123 E. 55 St. Nejad. to April G; A.
Canedo, Apiil 8-27.
thron gh April 20
8 Americans
Sidney Janis • 15 E 57
ABSTRACT ART
BEFORE COLUMBUS
April 15 - May 31
ANDRE EMMERICH
GALLERY
18 East 77. N. Y. 1 1 to 6
EXHIBITION
April 2 -27
Cood
Dra wi n g
MIDTOWN
&ALLERIES • A. D. Gruskin. Dir.
17 East 571h Street, New York City
KAVIER
GONZALEZ
RFCFNT PAINTINGS
thru April 20
MARTIN WIDDIFIELD
GAMERY O 818 Madison Ave, N. Y.
BERRY-HILL
C a 1 1 e r i e s |
PETO 1
TROMPE L'OEIL AND D
STILL LIFE PAINTINGS |
Exliibition through April
743 Fifth Avenue. N. Y. 22
American Debüt
MARCEL
SALINAS
April 16-27
HAMMER GALLERIES
51 E. 57 ST., N. Y.
{ 61 ]
JUSTER CALLERY
"Consolafion"
Opening Exhibition:
PAINTINGS BY
DAUCHOT
Represented in Many Important
French and American Collections
THROUGH APRIL
154 EAST 79th STREET
NEW YORK 21
Hours: 1 1 f o 5
Tel.: TR 9- 1007
NEWSLETTER
"11- r " » '4
I
t
f
NEW YORK SOCIETY OF CRAFTSMEN
887 First Avenue, N.Y. 22,N.Y.
Muriel Po Turoff, President
?
f
f
?
May 11, 1957
< » . i ' 1 1 •-*
I ;:i .: . •
ANMJAL
MEETING
The nev officers and Board were unanimously elected from the slate. They
are
CHAIRMEN'S
REPORTS
President:
Ist Vice-President:
2nd Vice-President:
Treasurer:
Corresponding Secy:
Directors 2
until 1958
until 1959 •
until i960
Muriel Pc Turoff
Vina Sarti
Bernard Fischer
Allen Syms
Margaret Sussman
Billy Bacharach; Charlotte Kizer, Oppi Untracht
E, Byrne Livingston, Hans E. Prehn, George E. Wells
Joan Zimet, Suzanne Pushman, Arthur Strom
Jüan Zimet thanked all who assisted her this year and expressed hope that
plans for a merger of the two Societies would be immediately considered
by the new Board. Alice Gundelfinger^ on behalf of all^ expressed thanks
to Joan on her fine leadershipo
Exhibition Coinmittee by Rose Krebs and Anne De Carrael: 21^ pieces were
shown by 97 craftsmeno Total expenses were $2^306.00 and the total in-
come $518, leaving a combined total expense of $1,788.00^ or $894.00
per Society^ which was raore than the planned allotment. At the time this
report was given^ it was not entirely completeo Therefore, the overall
cost may be expected to be somewhat greatero
Membership Committee. The following new members were accepted. A warm
welcome is extended to them, and we hope they will participate in our
work with interest and enthusiasm.
Kate Auerbach
360 Central Park West
N.YoCo Ri 9-2053
Texture corapositions
Lore Garrick Le 4-2231
169 Eo 96 Sto N.Y.C*
Jewelry
Myra Jedwabnik
130 Wo 57 Sto N.YoCc
Enamel Ci 5-6962
So Magnet Knapp
106-82 Drive
Forest Hills, NoY.
Enamel Li U-5183
.,i|r M T it^-,' ;•
Elizabeth Reynolds, Le 5-91^0
955 Lexington Ave., N.Y.C*
Ceramics
Emily Rose Re i^-ii710 Pottery
520 E. 86 St,, N.YoC*
Vivienne Sokol Mu 5-3725 Ceramics
350 E. 30 St., NcY.C.
Muriel Zimmerman En 2-8082
110 W. 86 St., N.Y.Co
Enamel & Tapestry
Tini Pollak PI 7-71^2 Jewelry
eh W. kb Sto, N.YoC.
Jury. Phyllis Blundell reported on the Exhibition jurying and recommended
that a better system be set up with more available Jurors including at
least two in each category. It was generally feit that it should be re-
quired of altemate Jurors to be present at the exhibition jurying.
2.
AMOUNCEMENTS
SPECIAL
TRAVELLING
EXHIBIT
MERGER
MESSAGE FROM
THE NEW
PRESIDEM',
MURIEL P« TUROFF
Mr. Hathaway was offered a choice of any one or more pieces from the show
up to a total of $50.00 for the Cooper Union Museum 's collect! on. This
was in appreciation of their hospitality. Mr. Hathaway graciously ex-
pressed his thanks. He chose three pieces among which was a bowl with
aventurine glaze by Anne De Carmel.
Kate Auerbach and Priscilla Porter will represent our Society at the forth-
coming Craftsmen's Conference at Asilomar, Cal. The sum of $18.00 each
was voted for them as delegate's expenses. We wish them a joyful trxp,
and will eagerly await their detailed reports.
For Silversmiths ; The Sterling Silversmith Guild of America is sponsor-
ing its first desi'in competition called "Sterling Today," Awards will be
made for outstanding designs as follows: $500.00 first prize, $250.00
second prize, $150.00 third prize, and four hon. raention prizes of $50.00
each. Deadline is June iHh. Write for entry forms to Sterling Silver-
smiths of America, 551 Fifth Avenue, N,Y.C.
Arthur L. Strom 's plans for "Craftsmen Today", the travelling exhibit
arranged for the N, Y. City Hi.gh Schoo.Ts, have already been launched.
Accompanying this newsletter are detailed Information and forms. Fill
them in and return promptly as instructed. We expect some fine publicity
on this projecto
Bernard Fischer reported the members of his Committee on Merging the two
Societies are Adda Husted-Andersen, Phyllis Blundell, Alice Gradelfinger
and Charlotte Keyser, They have had one Joint meeting with the Merger
Committee of the Ceramic Society so far, and expect to meet agaxn m the
near future to organize their facts for presentation to their respective
Boards. A show of hands was asked to indicate whether we were interested
in merging. There were l6 in favor, one opposed and 6 abstamed. A motion
that the same members continue to serve on the Merger Commir^tee ujatil fur-
ther notice was seconded and carried. The members present were asked
whether they favored another Joint exhibition next year, ind.ependent of
the merger o The majori ty were not in favor.
"It is gratifying to know that I have your confidence.
I'm accepting this Job, fully aware of the time-consuming burdens attached
to it. For me this will be a year dedicated to administration. Let us
face it; anyone in the presidency lias little time left for craftworK.
I will try to administrate creatively for the best interests of all
our
members
However, we must understand that our Organisation, like any obner, is a
Plural phenomenon. It is not an artlficial person, nor is it your body of
officerso It is all of us combined. Controv jrsies may arise, but we are
all agreed that we must have a crafts Organization, and that we want to
strengthen and perpetuate it.
Understand yourself in relation to your Organization. Yo-or attltudes and
thinking are directly related to the success or failure of our Society.
We must all work together for the common good.. An Organization can be as
strong as its members are willing to make it. Our greatest weakness has
been that too often, the few have done the greatest amount of work, and
given the greatest amount of time, often to the dissatisfaction of the many
3.
The past year has been a difficult one» We all owe Joan Zimet a deep
measure of gratitude for holding on to the wheel at a time of crisis; the
more so^ since Joan herseif was beset with a multitude of family difficul-
ties. She deserves a big liand.
It shall be the aim of your new officers to strengthen our organizational
procedures so that we can depend on them for smooth Integration. As little
margin as possible should be left for organizational troubles in times of
crises. Organizational patterns will be established to make wide partici-
pation simple for new members as well as oldo Coinmittees and chairmen
must understand their functions and interdependence clearly; and what is
very important, follow through on the ever evolving decisions as they
arise.
Your officers are ready to give their best^ but in return we shall expect
from you the broadest possible participation and Cooperation. Our rela-
tionship has to be a two-way street. Only thus will we grow. The Coming
year may well be one of the most exciting years in our history. There is
talk of a merger with the Ceramic Society. The visionaries among us are
ready to. juinp in^ certain that it will work. The hard-headed^ practical
ones among us say^ "We're from Missouri. First show us concretely that it
will work^ and then maybe we will say yes." All this is healthy. We need
the fiery visionaries^ as well as the restraining hard heads. Perhaps from
these healthy tensions will be born a new^ combined Society which v7ill
proudly live up to the philosophy expressed by Mr. Tibbs of the Contempor-
ary Grafts Museum: that there is no division between the fine crafts and
the fine arts.
We shall look to our eiders for the benefit of their experience and wisdom^
and we will call on the younger members to contribute the spark and fresh-
ness of their ideas . Let our Slogan for the year be„^ Participation and
Cooperation^ and let us have faith in ourselves; for as Samuel Butler once
Said, "You can do very little with faith, but you can do noxhing without
it."
NEWS OF
MEMBERS
■••"•^■»-«p"
Glass by Maurice Heaton was shown at^^Ohio State University, Columbus, 0.
in April. He will serve on the panel of the Conference of American CraftS'
men at Asilomar^ California.
Dorothy Fish is exhibiting at the Wichita Annual, at Wichita, Kansas.
Oppi Untracht is showing enamels and Louis Mendez ceramics at the Willow,
182 W. ^4- St. from May 2 to I8.
Following members exhibited at the 19th Ceramic National at Syracuse:
Kenneth Bates, Maurice Heaton, Margaret Israel, Phyllis Blundell, Estelle
Halper, Margot Kempe, Hui Ka Kwong, Louis Mendez, Priscilla Porter, Rose-
mary Taylor, Madeleine Vermes, and James Crumrine«
Erna Weill is having a one-man show of sculpture at the Schoneman Gallery,
63 E. 57 St. tili May I6. She also takes part in a group show on the Art
of Judaism at the Newark Museum tili June l6th.
A tape recording about the Joint Exhibition was made by Anne De Carmel for
the U. S. Voice of America. It will be sent to Austria,
Margot Kempe had a one-man show at the Wellons Gallery in April*
Angela Tully exhibited at the Virginia Museum of Fine Arts from Dec. 28,
1956 to Feb. 2k, 1957.
1^.
Following members had work in the ppening exhibition of the Museum of Con-
temporary Grafts^ which show is now being circulated by the American Fed-
eration of Arts: Paul Lobel, James Crumrine, Adda Husted Andersen, Hui Ka
Kwong, and George Wells.
George Wells is also represented by two rugs in the Wall Hanging and Rüg
Exhibition currently at the Museum of Contemporary Grafts.
Charlotte Malten is having a one-man shov at Brentano 's this month.
Two members von awards at the Miami Annual. James Grumrine received Honor-
able Mention for Ceramics and Louis Mendez Honorable Mention for Sculpture.
The Newsletter Editor has no facilities for gathering inf ormation on mem-
bers' activities. Please co-operate, therefore, by sending your news in
care of the Society.
NEWSLETTER
New York Society of Ceramic Arts
tiOO E. 59th St., New York 22, N. Y.
Freda Zuend, President
i—l Uli— — — p— »—— »— »»fc»^»i^— i^ . I . — «M«p— W*^— »— P— ^^— ■■— ^»^ü^W—
MNUAL MEETING
Friday, May lOth, 1957. at 8 P.M.
N.Y. Genealogical & Biographical Society,
122 East 58th St., New York City
EXHIBITION
A füll report on the exhibition will be given at the
May lOth meeting. We would, however, like to take this
opportunity to express our appreciation to the many
people who worked so untiringly to make it the beautiful
Show that it is. Our sincere thginks to:
Calvin S. Hathaway, Director of the Cooper Union Museum
for the Arts of Decoration, Hedy Backlin, Keeper of
Decoration Arts, and the staff of the Museum for their
usual hospitality ajid Cooperation.
Exhibition chairman Anne de Carmel and Billy Bacharach,
Käthe Berl, Phyllis Blundell, Bea Groll, Gertrude
Englander, Doris Klein, Roberta Leber, Hilda Hortens,
Alice Gundelfinger, Charlotte Malten, Marion Minewski,
Priscilla Porter, Suzanne Pushman, Margarita Socas,
Muriel Turoff, Mar;:^^ Osborne, Oppi Untracht, and our
President, Freda Zuend, for the many hours of theii'
time and labor spent in the endless details that went
into making the exhibition so lovely.
Oppi Untracht for the fine catalog.
The juries — Sculpture: Margot Kempe, Ellen Key-Oberg,
Marianna Von Alles ch, Jane Wasey, Robert Cronbach and
John Hovannes of Cooper Union Art School. Pottery:
Dorothy Larsen, Charlotte Malten, Louis Mendez, Phyllis
Blundell, Oppi Untracht, Albert Jacobson, Joseph Gre-
banier and Mr. Calvin Hathaway.
The demonstrators: Marge Israel, Margaret Sussman, Ilse
Johnson, Robert Cronbach, Albert Jacobson and Louis
Mendez.
Publicity Chairman Hilda Hortens and those who worked
with her.
And while we are thanking people, may we say that the
Society owes its most generous thanks to our President,
Freda Zuend, who has given unsparingly of her time and
energy. She has done a fine job, not only in her execu-
tive capacity and in integrating all the various activi-
ties, but also in generous ly assisting every committee
with its work.
There are 2l4 pieces in the show, representing the work
of 97 exhibitors. There were a total of eleven members
- 2 -
PUBLICITY
REMINDER
MERGER COMMITTEE
whose work vas totally rejected and at the final jurymg,
approximately 135 were turned down. At the advance
jurying, between 65 and 67 members submitted, of whom
17 were rejected.
Since the exhibition is still in progress, the report
on Publicity, too, can only be partial and a fuller one
will be presented at the May lOth meeting. Besides, so
much work was done in this area that it would be impossible
to Cover all of it in detail in this Newsletter.
It Started with an advance press party on February 19th
at the y.W.C.A., followed up with a release mailing to a
list of more than a hundred editors, resulting in "otices
in the exhibition calendars of such publications as Graft
Horizons. Individual letters were written to editors
of magazines; photographs and story material were sup-
plied to trade magazines in the jewelry field, to decora-
ting editors and art editors of the leading New York
newspapers, to Long Island newspapers and cotnmunity news-
papers .
News releases on the exhibition were mailed to more than
200 newspapers, news Services, news magazines, shelter
magazines, trade magazines, radio and television programs.
Posters promoting the exhibition were placed at Gooper
Union, Metropolitan Museum of Art, New York Public
Library (Main Branch at Fifth Avenue), Museum of Modern
Art, Education Department, Graft Museum and Georg Jensen.
About 1500 exhibition calendars were mailed by both
Societies and an additional UOOO were mailed by Gooper
Union to schools and Colleges, museioms, libraries, etc.
Please call for pieces Tuesday, April 23rd, from 8 to
9 P.M., or Wednesday, April 2Uth, 10 A.M. to 3 P-M. No
insurance after that date.
If you will refer to the minutes of the Membership Meet-
ing of November 2nd, 1956, attached to the last Newsletter,
you will note that it was the consensus of the meeting
that a Joint exhibition be held, this to be entirely in-
dependent of any question of merger, and that no further
Steps be taken toward a merger until after the Joint
exhibition at Gooper Union.
Inasmuch as the exhibition was also to be considered
experimental of Joint effort, no action has been taken
by our committee to date, nor have the Joint committees
met. As soon as possible, the merger committees will
meet to evaluate the Situation and thereafter there will
be a separate preliminary general meeting of our Society
to give the general membership füll opportunity for
free discussion.
- 3 -
NEW MEMBERS WELCOME i At a jurying held on February l6th^ the fcllow-
ing new members were admitted to our Society:
Robert L. Adams, 85 Morton Blvd,, Plainview, L.I.; K,Y.
Käthe Berl, 19^^-7 Broadway, New York 23, N.Y.
Sandra Ruth Brown, 1201 California Rd., Tuckahoe, N.Y.
Arthur Floyd, 123 Rivington St., New York 2, N.Y.
William Hoffman, I6 Jones St., New York 1^, N.Y.
Virginia Briton Janes, U35 E. 79th St., New York 21, N.Y.
Charlee Neubauer, llU E. Prospect Ave., Mt. Vernon, N.Y.
Lilli Ann Killen Shore, 375 Riverside Drive, New York, N.Y.
Helene Taterka, h^ E. 82nd St., New York, N.Y.
Mrs. Sydney Taylor, 29 W. 6kth St., New York 23, N. Y.
MEMBBRS' ACTIVITIES In addition to those who were listed in the last newsletter,
the following members also were represented in the Syracuse
Biennial: Phyllis Blundell, Edward Chandless, Joseph
Grebanier, Estelle Halper, Maurice Heaton, Dorothy Larson
Hotchkiss, Margot Kempe, Joseph Konzal, Walter and Mary
Kring, Peter Lipman-Wulf, Louis Mendez, Margaret Israel,
Polia Pillin, Priecilla Porter, Arpad Rcsti, Julius Taylor,
Rosemary Taylor and Madeleine Vermes. Jacqueline Bartling,
who is now at Newcomb College in New Orleans also exhibited
and had one of her things selected to go on circuit.
Ruth Vollmer had two ceramic reliefs on exhibit at the
VillageArt Center in a sculpture show and was mentioned
by Dori Ashton in the New York Times.
Doris Klein exhibited in the show of the New Rochelle Art
Association held in that City and won second prize.
Erna Weill will have a one-man show of sculpture at the
Schoneman Gallery, 63 East 57th St., New York City from
April 23rd to May l6th. The work all has a religious
theme and will be shown together with paintings by Rouault.
She has also been invited to participate in a group show
from April lOth to June l6th on the Art of Judaism to be
held at the Newark Museum and will have three pieces
that show.
m
Maurice Heaton has been invited to be on the panel of the
first Conference of American Craftsmen at Asilomar in
California to be held June 12-1^ this year.
Please send all news items to editor, Bertha B. Mason,
11 Hillcrest Avenue, Larchmont, New York.
. V
~ k -
AGENDA FOR AMUAL KiEETING
(Friday, May lOth, 1957, 8 P-M-)
I I
1. COMMITTEE REPORTS
2 . EXHIBITION
3. ELECTION
SLATE
The Nominating Committee, headed by Charlotte Malten,
presents the following:
President Joan Zafft
Ist Vice-President Ellen Key-Oberg
2nd Vice-President Gertrud Englander
Treasurer --- - — -- Dorothy Jervis
Corresponding Secretary Suzanne Pushman
Recording Secretary Geraldine Driscoll
Membership Chairraan Doris Klein
Ways & Means Chairman _ - > - B. Einger
Publicity Chairtnan Hilda Kortens
Special Events Chairman Anne de Carmel
Exhibition Chairman Lilli Killen Shore
Newsletter Bertha Mason
Pottery Jury
Albert Jacobson ^ ,^.
Ilse Johnson Alternatee: Alice Gundelflnger
Roberta Leber Priscilla Porter
Anne de Carmel
Sculpture Jury
Josef Konzal
Winifred Lansing Alternate: Hilda Niedelman
Bea Groll
Marilyn Fox
UhU^f^^^
ARTISTS EQUITY ASSOCIATION
253 WEST 72 STREET • NEW YORK, N. Y.
tenndlfät^
AEA
VOL. 1 -NO. 3
APRIL 1957
mitastume
Masquerade Ball» Th^aldorf-Astoria ' Grand Ballroom ' Friday, April 3, 1937
u^
fllJ^cJJfii^C^
THE NATIONAL CONVENTION OF ARTISTS EQUITY ASSOCIATION WILL
BE HELD IN PHILADELPHIA ON MARCH 29, 30, 31.
FOURTEEN DELEGATES AND THREE ALTERNATES FROM THE NEW YORK
CHARTER WILL BE GOING. PRELIMINARY MEETINGS HAVING BEEN HELD,
THE NEW YORK DELEGATION WILL ARRIVE IN PHILADELPHIA WITH AN
ACTIVE PROGRAM. THERE WILL BE A COMPLETE REPORT ON THE CON-
VENTION IN THE NEXT ISSUE.
PAGE TWO
NEW YORK CHARTER AEA NEWSLETTER
APRIL 1957
253 WEST 72nd ST, NEW YORK 23, NEW YORK
President
JULIO DE DIEGO,
Vice-Presidents
JACOB LAWRENCE
ANTON REFREGIER
MINNA HARKAVY
BERNARD SIMON, Treasurer
HELEN GERARDIA, Recording Secretary
NORMAN BARR, Corte sponding Secretary
DIRECTORS
M. TOMMY ATKIN
J. A. BUZZELLI
SAMUEL, BRECHER
ALFRED CRIMI
DOMENICO FACCI
RUTH GIKOW
SELMA GUBIN
CLARA KLINGHOFFER
MARY KOFFLER
LEV-LANDAU
JANE ROGERS
H. BELLA SHAEFFER
LOUIS TYTELL
# # # #
Editor
DOMENICO FACCI
Associates
H. BELLA SCHAEFFER
HELEN GERARDIA
DAN GENIN
A. RAYMOND KATZ
NOTES 0>i Tk NEWSLETTER
We would like to devote one issue to the activities and
Problems of sculptors. May we hear from the Sculptors con-
cerning this? If interested send in material that can be used
for such an issue.
All chapter members are urged to mall catalogues of their
exhibitions and other interesting material to:
DOMENICO FACCI, EDITOR, NEWSLETTER, 248 West 14th
Street, New York 11, N.Y.
All Communications should be typed and signed in order to
be considered for printing.
Deadline for May Issue —April 20th
DOMENICO FACCI, Fhairman
H, BELLA SCHAEFFER
HELEN GERARDIA
DAN GENIN
A, RAYMOND KATZ
EQUITY ELECTS NEW EXECUTIVE DIRECTOR - A REPEAT
ELIAS NEWMAN has been elected as Executive Director of National
Equity. He takes office on April 1 -Mr. NEWMAN has been Chairman
of the public Relations Committee, First Editor of Improvisations, Editor of the Chapter Newsletter, has been Secretary
of National Equity, has been a former Director of the New York Chapter and National, and has been Vice-President of
the New York Chapter. Most of us have had personal contact with Mr. NEWMAN and know his capabilities so we will!
look forward to a new era of goodwiU and understanding between the New York Chapter and National. We wish him well.
We welcome back our President Julio de Diego who spent the last month in California, and we are glad he is with us
again- Perhaps you can write an article of your opinion of West Coast Art Activities, Julio for the next issue?
We were pleased to welcome Bob EUis of the Los Angeles Chapter at the last Board of Directors meeting.
APRIL 1957
NEW YORK CHARTER AEA NEWSLETTER
\
PAGE THREE
ABOUT THE ARTISTS
BYRON BROWNE is having an exhibition of 10 paintings and 7 sculptures at Grand Central
Modems from March 30 through April 19-
MICHAEL CARVER will have a show in the Mezzanine gallery of THE BIG THREE
RESTAURANT opening April 5.
ALFRED D. CRIMI showed at the Ward Eggleston Gallery. His paintings were on view from
March 18 to 30.
MILDRED CROOKS will show paintings at the Ruth White Gallery open through March 30th,
1957.
RALPH DUBIN had a showing of paintings and drawings at the Kraushaar Galleries from
March 11 to March 30.
One of ELIZABETH ERLANGER'S casein paintings *'White Head»' has been recently ac-
quird by Colby College Museum. Two lithographs purchased by the New York Library for
their permanent collection. An oil painting invited for a month's exhibition in the Capitol
of Louisiana, Baton Rouge Museum, also a print circulating for a year in the State of
Louisiana. Elizabeth Erlanger will have a one-man Exhibition of Recent Casein Paintings
April 15 - 27 at the Bodley Gallery.
HELEN GERARDIA also had a one-man show at the Bodley Gallery March 4 to 16.
HOWARD KUH is at the Roko Gallery from April 2 to April 25 with drawings and paintings.
FLORENCE LISTON and CHARLOTTE WHINSTON both showed oils at the Argent Gallery
March 11 through 30.
ELEANOR LOCKSPEISER had an exhibition of recent paintings at the Pietrantonio GaHery
from March 16 through March 31.
MYRON MAYERS showed at the Bodley Gallery from March 18 through 30.
CHARLOTTE ORNDORFF will have an exhibition of watercolors on rice paper and linen
at the Wellons Gallery beginning April 1 and closing April 13, 1957.
MARY RONIN recently had a showing of paintings at the Petite Galerie.
CORINN ROWE'S still life, ''Old Masters' Story",, an ingenious arrangement of old masters'
Adam and Eve paintings, keynotes the March exhibition of contemporary religious paintings
at the Marino Galleries.
LILY SHUFF sold a casein painting to the Georgia Museum of Art, Athens, Georgia.
MAURICE SIEVAN is showing at the Passedoit Gallery through April 6.
MIRIAM SOMMERBURG sold three color woodcuts **Angel" and '*Reincarnation" and ''Dance
to the Metropolitan Museum.
9f
PAGE FOUR
NEW YORK CHARTER AEA NEWSLETTER
APRIL 1957
Through Eleanor Mizzy, a letter arrived from the "Recreation Service for Children
of Belle vue" asking for volunteers to help with their Art program. We quote -
**CreaUve expression is high on the list of essential programminß for these children
Perhaps among your many readers, there would be some whose schedule would
permit th em to spend an afternoon a week with cur children. I know from personal
experience, that the volunteers would find this service a rewarding and gratifying
experience.*'
Those interested please contact NORMA ALESSANDRINI at OR 9-5000 Ext. 2142.
COMM/TTEE REPORTS
The following letter is self-explanatory
Board of Directors
Members of AEA
Dear Friends;
Here I am home again feeling fine and my first letter goes to you. From my bed in
the Hospital I overlooked Central Park -deep in snow and in my room was golden
Spring; flowers sent by you good people and one thinks of Spring always with hope
and reassurance that all will be well. Thank you so much.
Please also do accept my thanks for the opportunity I had to join BLUE CROSS
through your Organization. You can't imagine how nice it is when you know that no
bills are piling up, adding worries to your misfortune of being ill. It hit me over
night. This experience showed only too clearly how important some health protection
is. I was not ailing and feeling fine, sometimes asking, *'Is this insurance necessary?
Only a few weeks ago I inquired whether the BLUE SHIELD was not available too.
However, I was told not enough members had rallied to the cause. I earnestly plead
with you fellow members not to delay to avail yourself of this most important protec-
tion. Although my hospital bills are taken care of through BLUE CROSS my doctor
bills are my responsibility. Don't let that happen to you. See that BLUE SHIELD is
available to all of us. This is more important than having a painting insured. I en-
dorse Bella Schaeffer's wonderful report in the Newsletter and hope that the members
heed her urgent call to make BLUE SHIELD a reality.
f t
Sincerely yours,
(signed) FELICE CAPLANE
H. BELLA SCHAEFFER
Ch ai rm an
••••••••••••**♦
HAVE YOU ENROLLED IN BLUE GROSS? HOW ABOUT BLUE SHIELD?
APRIL 1957
NEW YORK CHARTER AEA NEWSLETTER
\
PAGE FIVE
I i
PERSONALS
MAY IIEILOMS has been invited to show in Denver, Colorado Art Museum *'Man*s
Conquest of Space" Exhibition March 11 - May 19.
DOMENICO FACCI gave a lecture-demonstration for The School Art League at the
Chelsea School on March 17. He also spent 3 weeks in Florida as a guest professor
at Florida Southern College in Lakeland. One piece of sculpture is now on exhibit
at the Jersey City Museum.
VERA GIGER has completed a mural in cut paper for the 39 ft. Square basement
dining room of the Wells Memorial Presbyterian Church at Argyle and Glenwood Roads.
REMO BRAMANTI as usual has been working most diligently on the decorations
for the Bai Fantastique. Our congratulations for a Job well done year after year.
ERNA WEILL is having a show of Sculpture on a religious theme at the Schoneman
Gallery, opening April 23 to May 16. Included will be paintings by Rovalt. Also
at the Newark Museum she will have a show of Ceremoniäl objects in the Art in
Judaism show. April 10 — June 16.
WHERE TO SHOW
EIGHTH ANNUAL NEW ENGLAND EXHIBITION at the Silvermine Guild of
Artists -Open to residents of New York this year. Entry Fee $4.00. NO RE-
FUNDS. Entries delivered May 10. IL 12 at the Guild -Silvermine. New
Canaan, Conn. Many prizes -all monetary. Write in for prospectus.
RAY FAUST takes part in the BRONX PARK - BOTANICAL GARDEN
MUSEUM SHOW OF THE BRONX ARTISTS GUILD. Here is a place to show.
This is the 35th Annual Exhibition.
ERNA WEILL
Schoneman Gallery <63 E. 57 St.)
A few seasons bück we wrole
a lengthy piece about this artist
whose career as a sculplor was
cut Short by the Nazis. We pic-
tured Ihe rnaking of her artistic
Personality against the back-
ground oi her upbringing in the
inteJlectual and spiritual atmos-
phere of her paternal home in
Frankfort-on-Main— for centuries
a centev of Gorman-Jewish culture
and art — and her studies under
the guidance of a pupil of Auguste
Rodin.
The sculptures we saw in her Forest
Hills studio, linislieci ones as well as
others, m diverse preparatory stages.
rcvealed a talent ot undeniable in-
dividuality, that is worth watching.
Since then, Erna Weill has had the
suc'cess we predioted, cuiminated m
Commissions lor the Jewish Commun-
ity Center in Teaneck, N.J. (Site ol
her present liome and studio), and for
ihe new synagof^ue on Soundview
Avenue in White Plains, N. Y.
Most Ol the 34 pioecs in her letro-
spective exhibition at Schoneman's
belong to a series inspired by stories
Iram the Old Testament, with
their imposing cast of kings, prophets
and patriarchs. In some ol her sculp-
tures, notably "Moses on the Moun-
tain", "Jacob Fights the Angel" and
"Revelation"; she extends the Rodin-
esque style lor her portrails— out-
standing among the iatter are busts ol'
Mariin Buber, Rudolf Serkin, Claude
Frank -tar tovvard the borderline oi
romplete abstraction.
"Outcry". "Ingathering of the Exiles"
and "The Unknown Politieal Prisoner"
are scuiputred expressions of deeply
Iclt anguish and commiseration.
Ceremonial objects — a bronze
"Menorah", a ceramic "Matzoh-
Platter" and silver **Challah Plat-
ter"— show craftmanship as well
as Imagination in the use of tri-
angle and pyramid as mystic
forms;
Some of her noblest achieve-
ments, such as the large bronze
relief "Jacobs Dream'* for the
N
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im^HHHpHHV gallery a
j öcnoneman is showing a group
^ of sculptures by Erna Weill
(through May 16) which also em-
phasizes the life of the spirlt.
gjDrawn with deft Impressionist
ardor and strength, Miss Weill's
tnio V?elll: OF strong!7^Xp>i6si(1hi»t^t(gwe>f'
thoHcfisciilptiitfes are concenuHi^Jhi)ve |||r|y4l|i
de mental hunuin passion». Gncl,i<|^c. m^gite^ity
air ilu .il)sti;i(t llunics u*hirh tftkrlfToir plaresMr
h\ sidc wilh ((Hiallv clcuuiUal l^ihlical suhjccts.
In sInIc. ihcsc woiks dcpfiul on tlic (hunkv.
ja^|>('<l shapt's of maslcrs likc liarhuh, shapcs
vvliidi undcrlinc the physical and psydiolo^icid
sirain (oinnion to inost ot tlic (innres, llnoiigli-
oiil, liowcvci. Weill iKippilv iivoids oveistate
nieiit, lor ;dl tlie inliereiit drania of her Ihenies.
(.eneralh. the siiigle lij^ures. uhidi teiid tovvaid
loo la(ile. compact st\li/alions, aic iess rewarcling
Ihan such groups as Elijah and l'Jislia, wliere
liiere is a ^realer spatial interplay ol voids and
solids. (Sclioncinaii, iVpril li.'iMay 10.) R.R.
-jSt . ~JLi , t-M-
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1
9
5
7
work also affirms the power of
Spiritual and earthly love In cal-
culated certainties.
T^KNA W EiLLs pieces at the Schone-
man Gallery prove her a foroeful
sctilj)tress delvlni;- with an exprcs?;iori-
ist siinplicity aiid exa^j^eration into
rieh hniiiaii itiaterial inany tiiiies on
jewish theiiies. Her lar^'est piece,
Dialoguc, eatehes the niovenieiit of
ar^'unient. llic riikiioii'n Political
Prisoner surrcjiiiKis the bust of a pris-
oner with three threateiiinj^i- hooded
sliapes. Hanna lias stren.c:th and a
siipple moveiiieiit. Stroti^" portrait busts
and foiir haiidsoine Jewish ceremonial
obiects coniplete the exhibjtioii.
''^^ J. G. B.
♦ ♦ ♦
synagogue in Teaneck and the
imposing marble carving "Baal'
Shem" are, by necessity, shown
only in photographs. Neverthe-
Iess, this exhibition teils why
Erna Weill belongs among the
distinguished artists whose works
adorn the most modern syna-
gogues in the United States.
N
E
W
jN^fiery at
cnoneman is iihowing a group
)f «culpturea by Stum, WeiUL
Y (through May 16) which also em-
0 phasizes the life of the spirit.
T>prawn with deft Impressionist
^"^hrdor and strength, Miss Weill's
work also affirms the power of
spiritual and earthly love in cal-
culated certainties.
K
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ß
,^iP..^^.ltlM'-**'«'<^^**'*
''Jacob's
Dream"
by
Erna Weill
A sculpiur«
commissioned by
the Jewish Com-
munity Center,
T«aneck, N. J.
HJOM. J3H 'sanSoSmiXs ujapoui
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hdinj« 3|4»aue3X 'HPM vuaa
ART
654 Madison Avenue
New York 22. N. Y.
TEmplelon 8-3730
NEWS
ROO
OF ADVERTISEMENT
Issue
PLEASE F^OKE IN CORKECTIONS
For immediate approval. Corrections MUST reach us BY
Otherwise advertisement will be publißhed - ^hown here
This is a rough proof «t tl.e advertisement set acoorting to your "''' ..ions in conforman.e will. o«r typographi.- regulalions. We
«Lall .oneH, without .«st to you. any errors made by our ptfnr^"' wever, .^ sl^h<^ve to hill you at cos, for any olheraheratwns
,kP in Ihis adverlisemenl. or any mechani.al work neoessar; on Futs in acrordan.;e will. Standard magazine publ.sl.ing custom.
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sculpture ^
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april 23 - may 16
schoneman
63 easl 57, n.y.c.
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654 Madison Avenue
New York 22, N. Y.
TEiiipleton 8-3730
NEWS
ROO
OF ADVERTISEMENT
Issue
For immediate approval. Corrections MUST reach us BY
Otherwise advertisement will he puhlished as shown here
This is a rougli proof of tlie advertisement set according to your instnictions in ronforniance witli our typographic regulations. We
t.luill «orreH, witliout cost to you. any errors made by our printei. fJoiveier, we shall have to bill you at cost for any other alterations
yoii make in ihis advertisemejit, or any niechaniial work necessarv on cuts, in aecordance uilli Standard magazine pul)lisliing custoni.
ART NEWS APP
sculpture by
ern« .
april 23 - may 16
8choneman
63 easl 57, n.y.v.
X
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FftSSS RELEASE
Maroh 16, 1956
An exhibtUtn •f FainUnf, S0ulßtur€ and <?«'*°'"*;/»^*
-I.»- -^ i-ht Teaneok Jewiah Ctmmunity Center durin§ tht pasi
Monday/April 2nd and o^ntinuinf thr.ufh Saturday, April 7ih.
The mrt and o*ramio aetivitita at ihe ^«'»**'* •**'''»^*
p^Tle •/ all äffen »tarting af the tender af« •/ five and
§$tn§ »n up fe aduliheed»
The 0eramio and »oulpture olasfiea are under *'»«/*"*
directUn Vsrna f.ill. ^'•••/»'^^/t^;,; .!{ * anS Cm5J"
^««>, +nkinm wart in oarvint a heauii/ul "Mether ana uniia
Tn Jc^t r.frnlc IVne, -^'ohiakein, ah.u. at ihe Je.iak
Muaeum in New Terk until April SOth.
Eaiher Xesen direeU ihe arf and painiing 9laaaea with
ihe ahle oellaheratien ef Eleaner ^rfV^-^^J.^;**;*"* «^^
hilit speaha elequently ./ the «'"*«* Wr?U.rjniflJt
ar* olaases, whioh haoe mere than deiMUd du^tfig the paat
year*
The Art and Painting ex
a) dge 5 te 9 —
Jeff reu liif^an, Mif^erta Bandler, Lt^alie
reuer, Steven Hee, ElUaa Mehkina, Ili>üketh
Banker, Mek^rt^^tiuhj^Mrry Mriek, Traneine
Meitaoh, IQq LeSS&lT *«»*<• Weinierger,
Barbara Lowiihs^Lynn feritsf, Ahbey Zurit,
Pamela Muttyji^rt Sidua, Ilene Memman, Ifyra
Zeller, Kn^Xr^i^r, Martin Brewn,
b) Age • U IV V "^
ahen.
i89her, Jean palevo, Barbara j
y Zern, Michael Kaufnan, Judy §
e) Jr
Arlene Stinmel, Judy Tannenbaum,
,^^^d, Carel Jteider, Mark Clachke,
e Tuoha, Marjery Ley, Bianne Ley, Miaa
etß, Carel Letfit/on, Madeltne Leoiien,
«iman«
Mith 9reup — Anita Gehen, Evelyn May Ja aeba, Linda
Luria, Oarele Mervia, Michael Marenatein,
Stephanie Mebbina, Bebbie Zurit, 9eria Stein^
d) Adulta — Sari laufman,
Sehaeffer, Boa
Bariaen, Ulli
Sillel ^^^^
Oeramio and Soulpture exfiiot
Betty Weit», Mena Meimow, Ho
Orlande, Themaa Banial, Bebb
Sally fremarta, Martha Grube
Janey Traenkel, Bianne Tuchs
Lynne Mandel, ailbert Beeth,
adult exhibitera*
Br» Ruth Zuekerman, Traneea
e Zurit, Ruth Selemen, Minna
an Briok, Eather gershen, Ethel
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iara are t Age B te ISt Jean Palew,
noy Bialler, Mark Jaoeba, Raphael
y Lipman, Beb Levy, Feggy Preuaa,
r, Marylin Berger, Sandy Silverberg,
Barbara aerahen, Carel Rauch,
Freddy Bunaberg, Alae a greup ef
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SCHONEMAN GALLERIES, inc.
63 EAST 57TH STREET
NEW YORK 22, N . Y.
PHONE PLAZA 5 3O20
CCU.^TY OF:
STATE OF :
NEW \ORK)
NEW YORK)
r
AGREEME^r^ BETWEEN THE SCHONEMAN GALUfeRlES, INC., 63 EAST 57111 STRECT ,
NE:V YORK, N.Y., AND MRS. ERNA 17E1LL, 8G6 ALPINE DRl l'E, TEANECK, N.J.
(
1) The Schoneman Galleries agree to exhibit the sculpture of Mrs. Erna Woill
in tieir Downstairs GalloryXfor a three (3) week ^priod during the month
c " of April, 1957, Some appropriate piece^ will bo displayed in tie exhibition
room upstairs. ^ •
V, The sculpture will have to be delivered to the Galleries not later than
March Ist, 1957.
2) The prices of the different pioces of scupture shall be mutually agreed upon
3)
4)
5)
The sales comrnission to the Galleries on every item sold is thirty-three and
one-third per Cent (33 l/3?0 of the füll price, and all sales during the
exhibition have to be made through tiie Galleries,
Wrs, Weill guarantees to tiie Galleries a net comrnission of at least four
hundred dollars ($400.00), which has to be paid to tiie Galleries regardless
of the amount of sales. This amount must be deposited ivith the Galleries
before tie exhibition opens,
The cost of printing catalogues and invitations and the mailing of same has
to be paid by Mrs. Weill. Also the cost of all advertising has to be paid
by Mrs. Weill. It is up to !\lrs. Weill to determine hoiv much she vvishes to
spend for tie aforementioned.
Mrs. 'Veill may handle these natters personally, in which case proofs of the
catalogue, invitation and advertising must be shown to the Galleries before
printing,
Or, tie Galleries will take care of these matters for Hrs. Weill, in which
case the amount of two hundred and fifty dollars ($250.00) must be deposited
with t e Galleries not later t'^an March 15t :, 1957, in order to pay tiese
expenses.
November 21, 1956
X
AGREf D :
(date) /
;^
ERNA 'VEILL
SCHONEMAN GALLERIES, mc.
63 EAST 57TH STREET
1 !
NEW YORK 22, N. Y.
, 1
1 j
PHONE PLAZA 5 3020
1
1
November 21, 1956
1
1
'
Mrs. Erna 'tfeill
886 Alpine Drive
Teaneck, N, J,
Dear ^Irs. I'Jeill:
We refer to your lotter and our telephone conversation and like
to confirm that we are ivilling to give you an exhibition of your
work in our downstairs gallery. However, ive shall also display
sone appropriate pieces in our exhibition rooms upstairs,
We intend to have an exhibition of paintings by Georges Rouault
at the same time, and we could place some of your sculpture as
a background for this exhibition. !Ve think it would be a wonder-
ful idea since your sculpture has mostly a religious feeling too«
\^'e do not know exactly what date the show will open, but it will
be some time in April. We will inform you of the exact date. In
any event, we have to make a catalogue and discuss the probability
of reproductions in this catalogue. For this reason it would be
good to have another discussion with you to go ovor further details.
You should plan to have your work delivered to the Gallery not later
than March Ist in order to be previewed by the press for April
publications.
We enclose a contract which you will be kind enough to sinn and
return to us.
Verv sincerelv vours,
sc Iß NEMAN GALLERIES, INC.
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Encl.
r. J. Schoneman.
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April 15 , 1957 •
?'r«F»rohonomnn •
63 '. 51 t
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ncor Kr. '^olioncmrn ,
^ ._ , I 3?GoclvcC your Ictter of
pril lo, tmd Inolud« ohcok or ' A^^o.-
whloh Ir In nai p-y^cn; of thr e-DcnrcB .
to lulld up thc ©xhltltlon wlth yt^u .
rlncjoi'Gly yoi ~
-^^k/^
icurult your cat-Iomrc of
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V?7 . 19r6.
'ihonomr:n CeXlcry
«'
^or».r Pt:^, '"hcneman #
oonv^ rnr.l.loii v/e hr.c!. In your [^vlloiy Vot Mook , I
Oi^-^' oo thc^conolunlon * tJir>t if l' -nl.oji r onr - r ji
noT^ • _• ore I vroul:" npr)r ol^ato If you t;ou1c^
1' .. ■ 'oio^- , '.rhen - In tho /ory ncar .futv.re - you
v/111 1)0 ir to vlclt ny ntucnp in ''.'ötmeolrt
?hc •.■•.■■'.,! oijjfcfl^o.- , In oaße of no
oi 5J oi' tii rrlcr^ -»n-'lce (e^cpen:-- r of or.rtin ',flrlr|
aau rnntorlal clo^luotod)!- rllfci-ht^ ut -t dld not
^ilrcunc rxlvc^vtXvln^ ^ oatalo^me nn^^ ^'*s 111-- , - r^ weil]
" le^v-feli of o-:hlbit , c^^I r connrction rn ■ rctrilnjj
of 'T)rl: :ln your rnll i'y.
I \^oul-l :'';^'^'Tccl*i'^-€' a ß\xorly --.-r-
Rinorrely yourr^ ,
SCHONEMAN GALLERIES, ikc.
63 EAST 57TH STREET
NEW YORK 22, N . Y.
PHONE PLAZA 5 3020
March 16, 1957
Mrs. Erna Weill
f»6 Alpine Drive
Teaneck, N. J.
Dear Mrs. Weill:
1 have your letter of March 13th. In answer to your different
point$, 1 do not know what clippings you are talking about. Vou
shoived me during your last visit different newspaper clippinqSt
as well as catalogues, which you took with you. In my opinion
there is nothing in this office.
As to your inquiry about the one hundred envelopes, we do not
have any envelopos yet for the Rouault show where we intend to
include your catalogue. We therefore advise you to mail out
your one hundred envelopes yourself when the time comes.
As to the invitations, as soon as we receive the cards we shall
have one hundred reserved for you. The time will read, April
23d - 4 to 7 P.M.
With best regards,
Very sincerely yourSi
SCriO NEMM GALLE RI ES , I NC .
FLS/lgr
Schoneman»
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P.S.:- According to your instructions 1 spoke to Mr. Offin, Editor
of Picturel Qn Exhibit, He will try to place a one inch iV)
advertisement in the April issue of LtClMrc.? jOlil Ex^ibit as
well as AjüL News. The Arts he says will take the advertisement
for their May issuee which will appear late in April.
4 f^^lcM ^''^^-'^
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SCHONEMAN GALLERIES, inc.
63 EAST 57TH STREET
NEW YORK 22, N. Y.
PHONE PLAZA 5 3020
April 19, 1957
Mrs. Erna Weill
086 Alpine Drive
Teaneck. N, J.
Dear Mrs. Weill :
IVe are now about finished with tlie preparations for the exhibition^
According to our contract we ivould like you to send us your check
for the following amounts:
$400.00
30.00
20.00
TOTAL $450.00
As stipuläted in our agreement.
Postage for 1000 catalogues.
Signs, invitalions, etc. (a füll accounting
will be qiven at a later date).
Very sincerely your?,
SCH0NB1AN GALLERIES, INC.
F. L. Schoneman.
SCHONEMAN GALLERIES, inc.
63 EAST 57TH STREET
NEW YORK 22, N. Y.
PHONE PLAZA 5 3020
July 9, 1956
Mrs. Erna Weill
886 Alpine Drive
Teaneck, N. J.
Dear Mrs. Weill:
Mr^ Schoneman is away on a short vacation of about two weeks,
lipon his return I shall call his attention to your letter,
and he will be glad to discuss with you the arrangements for
your proposed exhibition.
Very truly yours^
SCHONEMAN GALLERIES, INC.
L. G. Randall
;cpt,lo. , 1956.
rchonomrn fallcry
63 ■ 57 t.
lle-.' York City
r«.ar lAi', ' choiicin-m ,
Ac per our telc-.hone convrrr'tlon
gd. to om^ 'Aoue« . ^^^ .^^^^^ „,^ .-^^^e to
rl^>lt ray studio -'^^^^^-^^Z^ ..-. ^reo to com«,
p. ,j.iit. J-* ^ tel ""hone na ..'oi ii-
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SCHONEMAN GALLERIES, inc
63 EAST 57TH STREET
NEW YORK 22, NY.
PHONE PLAZA 5-3020
I \
September Iti, 1956)2
Mrs, Erna Weill
t;e6 Alpine Drive
Teaneck, New Jersey
Dear Mrs. Weill:
1 am very sorry I could not find time to look at your sculpture.
1 practically forgot the purpose of my visit. We do not buy
sculpture. If you want to make an exhibition. let us know. and
in this case 1 would come out to see your work.
Very sincerely yours,
SCfDNEMAN GALLERIES, INC
Dr, J. Schoneman,
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/.prll B , 1957
I!r,C. ""xtrrovrs
K*y.Kerc,l<l ^ribune
r.3o ■ Gct 41 '-^t
rf'
Dcar Mr. ^^^irrowB ,
erhlbltlcn nt thc Carlcbach -rllriTT jo^ ^'^'^''
mc cuoh cn imclorctoivllnr cncl v:onclcrfull
vrrit©-up , th.9.t I thou'-ht, you nltrht Joo Into«
reotcd In rny comlnß ©xh'bltlon v,t the
I' thcrc vfotad bo c chrnoe to
como to TGcnecl: , I ::oulcl liltc co muc:_| to
nho^' YOU a bronzc i^ellef , vfhloh I mado or
the' Pernecl: Jr-lrii Community Center . pcßl< eo
I am vjorlrlnc: nov; on a dcotn for a Templc in
The cxlilbltlon In open rlrerdy
for reportero •
ßlncorly yours ,
"-rsef ^
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Arll !• , 1957-
52 e 57
Hev; York City
Dear Hr.Cojnpbell «
You ',/rotc pJbout my «hov; In the
CorlGbach nr.llery(6 jreors aso^ '.^ith^GUch Bi;eat
undcrotojidlns , tlmt I vranted to Inform you
cbout lay coralnr cxhlbltlon at gchoneiaon, of
vrhich I Inclucle a catalof^e • .,, , _
re*! l^loun themc , tliei^f or© Mr. ^-choneram t-pj-
kö^f^Rlraoultant^ouoly c. collooti n of ^^oua\at.
T^atntlnrs, Of oourno my ^'^^^P^^t:;;,.^;^^^^^'^'-^
be Boon m -tho eüJLlci'y no--, for the iKjnuhly
maGaslnc rcrlerro .^ ^^^ ^^^^3_y ^^^.^^^ ,^^ ^xclted
to ^'Ork noTT on 'y^ir-orm^ art.Cnebronr-.e pelle x
»jr-oobftC Dreeja" A Tcot by 5 fc©t) Ir Injtcaicd
in the^Xenneck Jovdcii ao-ratmity ':'!;^ntor .-nd I
junt waß comlcolonod to de o soiapturö In a
'Vormlc in '.'©Gtchentcr,
•^ ^ If you could r-n,' :' to ooffic
out höre to Tcrjicck to see the rellcf . pleace
rftve me a rlnr, Jmd I oorad plclt you up o-t tho
brldr;e . Ito' only lo mlnutoa fi^m tlicro.
Slncorely yours »
Thcre Are T^hotdo for public ot Ion anc
of the rolicf at ^chonemcn •
-'9 o '^"*'
hoto
4, / 5. 1957.
ltP«H. Devreo
lU\r York Tlmeo
229 '^ -^3
Hörr York 'Jity
Dear Mr.Dovree ,
At ny In-Et ohov In tJie Crrlcbrch
Gpllcry 'Jie Tlmeo vrroto thln vory \mderßtanclnB
artlcle abcut It * (viiich I include)
The cyjilblticii "111 hr.vo p.
reli^louF, theme ßnä the ßohonemrjnt Grllrry
therefore will shovr nt tho sniae tlmc pelntinec
of Houault •
I htxro füll undcrßtFJidinff thot
It vlll not be r-osplblc to cend v. reportor ot*
■to tcnjieck tö aee ihe bronse rellef I m'^dc for
tm; Jovinh Conmtmity Ocnter h<^re , tharefore
I hc.vc a photo o It In my eyJilbltlon «
Slncerely yours «
Vi »»1957
Mr.Ch. Off In
3o E 60
H.X.C.
Doar Ilr, Cffln »
t Includo the p2?oof 01 lay /»rte oA
Tor the Icyout In the 7 Ines cnd Horald Trl^-'ünc,
LlöcBC , let mc oee üio pix)#f.ror both -Rapors r.ftcr ;
70U i^oelvG It • Couli" you ßee 1:.o It that It '.rill hn nlcsereh.
oed well, Simdr.y, ^prll 21, vrovld bo the dnte,
Aß 70 1' told lao. the chrrre t?111 be
the Gfuao aß IT I plftocd It directly,
I hopo you "111 ree the €^:öl^ It,
thorefore I Includc the cataloGU-e,
Sinccroly youx's »
y
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A-ni-ll^ » ^^-'*'
,j...T.i3r;'Ar
•lllUlGy -
tucevca
"Xon 1^-^ov lio^ ^T^.er- 05^ J: -^ceuii
/
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"Ini' ?f,tts' -'olch
Tlüjf -,.,r,slno
/ort "iept,
9 ni<)ckf-rllcr PI
}fio*J' Yori: City
April n, 10?7.
.;.-•.
1/
^ .
r>opj* lilnr. "eich ,
bit«
I IncliKTc r, er.trlonio ''or ray orhl^
on rn.'^. v.-yjit to InforM you thrt thc o-hibit
Ic ölroady open for r<^::.ort,crr only ,
„ ü „ 'Xho t:-on:-e rdlol' o? "Jr.cob'c
mmm i-i 'tho '^ccncok Jcv;i.?h Comirrunit-/ "cnter
canjbo -'.on tlco , bnt it v;nulf: Ix bot-tor to nrlz<^
fin nppc i:ritmon L bt for^: rÜ^ mr (?oan' c!: 7-1627) ,
II I an x,-o:'l:5.n-- no".- on r, ly^v:
Syr.4VG.oru<. dcsli-tl, ::oi- a 'r<::^>plc in -cetohf cter ,
rlnoeroly youj.T.
sculpture by .
t\\ Schoneman
*|J^%»' 63 Bast 57
sculpture by
et«»»/'
.Atll Schoneman
V4^^* 63Eost57
Charles z.
offin
• •
advertising
30 east 60th street
new york city ..... P'"« 3-6381
Rough Proof ^* ^^" ^^ -*™^
to be inserted in:
N. I. Times
sxze
issue
TTTTT
Herald-Tribune
/ 1
5t
-^i
M
Art Nsw»
Ptc ture^'^'tiflnr BtÄTtTÄt
i
Roari tevt carefully for accuracyj Please Telephone
^^^^^t^ü:^^^^:^'' will appear as shown
Kl:/: i^^e^
^erci-icü -'Tr. low^ne-
«#
^*»
Uarch 8,57
Dear Mrs.Weill»
Here is a copy of aay article,a8 requested»
I Just recÜTt* thc tw© photographs «f your "Jacob* s Dream",They «how your «
strong oculpture rery adTantageously.lut! :what/rf I had in mlnd waa a pbotograph
of the alraady installod 'bronze»whieh shows also the lettering and giree an
inkling of its size by the Inelusion of somc part of thc wall for comparison«
It was the architectural contaxt of your werk that gare ne the idea to
use a photegraph togather with one of a newly built synagogue in White Plaine*
lut the iselated sculpture would ge well with the reriew of your foiöicomlng
Show at Schoneiiian*8
Best regards»
A^fh^
Called upon to analize an artist's oeuvre,one is tempted to speak about his
8chooling,artistic ancestry and individual style in terms of the art-lingo,
measure his growth according to the artistic distance he travelled,and trace
his development as a craftsman. ., . . . i '^
lut in the case of Erna Weill this approach would fail.because the driv-
ing force behind her work is mainly rooted in spiritual and emotional soil. ^ »
That this artist was born and educated in Frankfort-on-the Main,for centuries
a Center of German-Jewish culture and arts,and tecame indoctrinated with the
thoughts of the Jewish philosopher Martin Buber,were circumstances that left
their imprint on her oe«T»e not less than did her early schooling by a pupil
of Auguste Rodin. . . . .*
And the anguish and torment of witnessing from afar -since emigrated to the
U. S.A., 1937 -the horrible fate of her Jewish brethren in her homeland engender-
ed in her a compassion which lifted the expressionistic power of many of her
sculptures to heights close to the oeuvre of Kaethe Kollwitz.
• • •
In her portraits,admiration for the spiritual or artistic achierements of -
her sitters.even adoration for them as human beings are paramount movers,dict-
• •■
ating style and treatment of her sculptural media.
Her devotional objects.because of the inspired use of triangle and pyramid
as mystic forma »belong to her most individual achievements.And the deathless •
stories of the Old Testament wlth theirs cast of kings.prophets and patriarchs
*■ t
are a main source of her sculptural ideas.
The ecstagies of love and commiseration,piety and supplication find express-
almost abstract
ion in her most accomplished,sometimes/ytBnMtrtHlcTK« works.Small wonder that
she was commiesioned to do a sculpture for the entrance hall of the Jewish
Center in Teaneck,N.J. »jümäk where she lives.works and teaches.This bronze, '
"Jacob's Drean" belong to the distinguished works of Jewish artists that adorn
some modern synagogues in the United States.
B.F.Dolbin
. t„ analvze »n artlsfs oeuvre.one i. tempted to apekk about -■
Called upon to anaiyze an »iwao _.
M. schooUng.artistlc anceetry and indmdual style,
Hi^ ^ ^-1 ^».Äir,» t« •«ie-artt»«e-«tt'(*««ee-(»-«(»»ell«'i..v
in* trac.e..-Ma-*OT»lop«iajt »i-*-»*«>*;
'^'»illlUMI I lOtt»-—**"'*^"" - _^
,„:n.Mnd H„ ,0.. i. »mly .ooted In Spiritual and emotional seil. __•
T ^,h rulture and arte, and became indoctrinated with
uries a center of German-Jewish culture ana ar^.^ ^^^ '''<^>^\ '.
*li® 1- if-^t-sr, T^uh«rJrere circumstancea iipmv leii
the thoughts of/Jewish philosopher Martin Buher ^^ere
+ i^Rs than did her early schooling hy a pupil
their imprint on her oeuvre not less than dia
of Auguste Rodin.
since
... , .. •• •
fTe »"8"!='' "* *"■"""* "' «itnesaing from afar -/*
emigrated ;
to tr..3.A..1.37 - t., .o,U.le fate of he. .e.ish ..eth.en in he, ho^eland
.n.en^e.ed in he. a co„pa.,ion ..io. Uned tne exp.eesionietic powe. of »any
- , -. tn v,«lirht8J^cl08e to the oeuvre of Kaethe Kollwitz., ._
of her sculptures to heights;^cj.ose uu
in .er pon.aite.ad.iration for)§;iritual o. artistic achieve.ents of h r.
3Ute„.e«n ado.ation fo. the. a, nunan .ein«e a„ pa.a^ount „o.e„.diotatt„.
style and treatment of her eculptural »edia. '■'",„,.
Her devotional o.Jecte..ecau,e of the inspired uee of trian«l. and pyra«.d
.3 ^stic for.e..elon« to her »ost indi.idual aohie.e.ente.And the de.t leee
3toIs Of the Cid Testament with their caet of Mnss.prophets and patHarohe
are a main source of her sculitural ideas. •.-
' ~ . 4.4rxv. 1^-iPtv and supplication find ex-
The ecstaeles of lore and oommlBeration.plety PP
her S03t_acoonpllBhed, ^°y ..„.ti wonder that ehe was
pression in/so.etines almoat a.straot «-*,*-«
con^issioned to do a sculpture for the entranoe hall of th .ew.
V N J were ehe U„s..orlc3 and teaches.This bronze ." JaooV s Dream
Teaneck,H.J»»were sne xxyc ,
«^ T-«4eV» artists that adorn some modern
t,elong to the distinguished works of Jewish artists
synagogues in the United States.
B.F.Dolbin
/ ^
Erna Weill
••leauty is something wonderful and stränge
that the artist fashions out of the chaos
of the World in the torment of his soul."
Called upon to analyze an artisfs oeuvre.one is tempted to speak
about his schooling,artistic ancestry.indiridual style and derelopment
in terms of the art-lingo.One would measure his growth according to the
«ÖKfcciHXtl« artistic distance he travelled from his first step to his
last, and trace his deTelopment as a craftsman.
lut in the case of Erna Weill this approach would fail.hecaAse the
driring force Dehind her accomplishmeu'ts in clay,wood.bron2e,stone and
terra cotta is mainly rooted in spirltual and emotional soil.
That this artist u:^i^^^^4^is:i^^ family^4 was
hörn and educated in Fra.nkfort-on-(he-Uain,for hundreds of years a center
of German^cuUure^rts and cfaftslwere circumstances that leave their -
imprint on/ldut oeurre ,more-4is*i««*iy xnan uxu
a for««-Ti3tptl~n!n^:KüTflSt«-^odi»*«
And the anguish and torment of witnessing from afar-be cause she had
left her »..«*.f*^ homeland in 1937 for the U.S.A. - the horrihle fate of ;
her Jewish'hrJthren in the concentration ca«ps and extcrmination plants of
GeVmany engendered in her / compa.sion which lifted the expressionistic ;
power of many of her scul/tures to the artistic heights of a Kaethe Kollwitz,
in her portraits,adJiration for the spiritual or artistic achierements.-
of her sitters.eren adorition and love for him as a human heing are paramount
morers.dictating style ald treatment of her sculptural media.
Her »mall derotioniil and ceremonial ohjects -hecause of the inspired
use of the »ystic forms'of triangle and pyramid -telong to her most indi-
Tidual achierements.And'the/ dramatic and edifying symholic stories of the
Old Testament with its immortal cast of iings and pr^hets.sinning and
rightuous patriarchs ire the main source of her scJl^ural ideas.
The ecstaeies of lore and commis^eration,piety and auppllcation find con- *
vincing expression in her most accoraplished.sometimes aljnost abstract sculpt-
ures.Small wonder that she was commissioned to do a large sculpture for the
entrance hall of the Jewish Center in Teaneck,N.J. were she l4ve8,works and^ ^
/
teaches.This bronze," Jacob 's Dream" belongxto the best works of Jewish artists
that adorn the newly built modern synagogues in the United States.
/
,••
B.F.Dolbin
/
New York, March 2,57
Dear lärs.Weill,
Kere ia the end product of cutting and
compressii^g - a painful Procrustean feat for anyone loving his even
not perfcct brain child»
I Started with the elimination of the motto between quotation narke.
That was easy.I then cut the fat,careful to avoid the livlng flesh of
the sentences.And I heeded your and Mr.Schoneman's suRgestions.
The illußtrious name of Martin Euter figures -I think - in proper
connection with your backgroundinow labelled German-Jewish*
The original article,plus motto, had 374 words. The shortened and
partly revised one, minus the motto has 317«
After much querying I furthermore suggest the elimination of the
the
6 lines which represent quasi an ouverture to/web of thoughts about
your oeuvre -but only if a further cutting is unavoidable#And the
headline ••Erna Weill** seems superfluou8#
I marked this ultimate cut with red penciltThis would bring the
length of the article down to about 250 words •
I hopetyou and Mr.Schoneman will be satisfied*
Sincerely yours
^^#>»^
'J^
.^^
r
V ^-^
HL.
2,. Page
/
f
iLc
/)>'' CRITICS FROM FORMER EXHI3ITI0NS
Larry Campbell in the "J^xt Nevrs" ; --Erna Welll is concerned
wlth the relationship of tvro flffures in confllct or In affectlon-
Aline Louchhelm- Saarinen, "Ke^^' York Times" : Thls i? a
sculptor v.iio manage s to comlDlne emotional approach with a tinie plastic
sence, one marble piece has a stolld conviction .
Carlyle Burrovrs in the "Herald Tribüne" : Erna T-,'eill,s
sculpture — resolute modelllng dramatic impact, sincerlty and
depth of feeling .
_ «
3 • Page
V_...'
SCULPTURE
^
V
V
x-
*
*
*
5.
6.
7.
8.
9.
1. Bathing in light (llmestone)
2. Blesslngs (Vermont marble)
3» Elijah and Elis?h (marble concrete)
3b, Elijah and Elisah(bronze)
4. Dialogue (art stone)
Lovers
Ceres
V/aterbuffalos
Best Drink _
Tvfllig^ht
lovDaJice of Love
ll.Mother
12.Prayer
13.Chassid
l4,Revellation ^ /s. \
15.Dream ^ J^A^^A^^^^-)
lö.Cutcry
ly.Xoses on the Mountain
iS.Ingathering of the Exiles
19. — and .she put Moses down at the brink of the river--
2o.I'annah
2i.The unknov/n politic.?l prisoner . lrT.^..J--'^^
22, Jacob flghts the Angel / JWJI ^'
23, Photo of" Baal Shcm" (niarble)
24, Photo of "Jacobs Dream"(bronze)
•« •>
( fj f €> M e 5^ )
iw / U
Portrait s
25 , Pro f , Mart in 2uber
2^. E.V.'
'/-i>^r' /
PCRTRAITS
27.
28.
29.
3o.
Claude Frank , plan! st
Rudolf Serliin , planist
Kathan Mii stein , Violinist
Yemenite Girl ^ |
'1 .
:.A •
CEREi:ONIAL OBJECTS.
211. ChllcLh Platter
32, Matzoh Platter
33, menorah
34, Shabath Gandleholder
••«»•/••^r,''
*^\'''•
^^|ln thel^erinanent collection of the : Georgia State Museum, Athen s/G?-
Birmlnshajn ^!useum/Ala. , Jewish Museum/N. Y* , Eezalel Museum/Jeruscalem ,
Teaneck Jewlsh Community Center/N. J. , Hebrev; University/jernisalem/
/ -
April 21.67
Im» Wflll
QallerTi
A f., ,«..n. l,«k w. «.t. . l«,hty pl.c. .*.ut thU «tl.t wh... ..r..r
•• > ■«ulptor w»» eut »hört by th« »»»li.
I„ thl...»r -Fp.undlloh.r St.ckWl.f « Plotur.* th. -aklng of h.r .rti.tlo
p.r..nallty a^ln.t th. h..kgr.cund .f her uphrlnglng In th. lnt.ll.otu.l and
,plrltu.l .t-osphT. .f h.r p.t.m.1 hom. In Fr.nkf.rt-on-th.-l..in - f.r ..nt-
„rl.. . ..nt« of a.™.n-J.wi.h «ultur. «d .rt- .nd h.r .tudi.. und« th.
(uidano. of a p»pll 'f *ug»«t« Rodln.
Th. ..ulptur.. ,. saw in h.r th.n in ror.et Hill. l..at.d ,tudi..finl.h.d
on« and euch In dlT.r«. pr.p.r.t*ry atag...^ r.raal.d a tal.nt .f und.nlabl.
lndiTld»alit]r,»»rth watohlng.
Slno. th.n Erna Will had th. antlclpat.d ,ucc.....,.ul«lnating in com-
.i.,i.n. f.r th. J..i.h 0.-unlty O.nt.r In T.an..lc.K.J.(th. .lt. of h.r pr...nt
h.m. and .tudlo) and for th. n., .ynagogu. on Soundri., AT.nu. in Ihit, Piain..
M,.t of th. 5« pi.c.. in h.r r.tro.pooti« .xhlhltion at Sohon.«.».. h.long
to a ..rl.. in.pl.r.d by th. d.athl... .tori.. of th. Old T..ta»«nt ,ith th.ir
i-po.ing oa.t/ of king..proph.t. and partriarohB.ln .0». of th «Iptur...
11k. ...... on th. Kountaln".- Jacob Fight. th. Xng.l".-Re«lation. .h. .xt.nd.
th. R.di...,». .tyl. of h.r p.rtrait. (n.tabl, th. bu.t. .f Hartln »»b.r.R»*-
.If 3.rkin.01aud. frank) far to«rd. th. b.rd.rlin. .f c.i*l.t. ab.tr.oti...
Oth.r..lik. .Outory-.-Ingath.ring .f th. Exil.." and "Th. ünkno« J-.litioal
Prlsonar- ar. ..ulp ur.d .xpr..3ion. .f d..ply f.lt «.gui.h and o.-l..ratl.n.
Xnd th. ..r.«.nial objo.t. -th. br.na. .«.n.rah- .th. o.ra.ac -Uats.h-.latt.r"
and .ilr.r "Ohallah Pl.tt.r" .h., n.t unly oraft.«n.hip b«t al.o i«.inati.n
m th. u.. of triangl. and pyraBid a. By.tio for»..
ET.n thou* .... .f h.r „.bl..t.a.hi.T.»«t..llk. th. largo bronz. r.li.f
.,a..b'. Dr.a-" f.r th. .ynag.gu. in T.an.ok.and th. i.p..i»g ~rbl. oarTln,
..al Sh.-" ara.by ......lt,..nly r pr...nt.d by phot.gr.ph..tlil. .«hiÄlo.
V.T.
t.ll. why irna W.ill Delongt today to th. distingui.hed froup .f »rti.te
whtt« w»rk« »dorn tht most mod«rn iyiiÄgogut. in the ünlt.d Stat...
I «
* t
I
S.F*Doll3ln
3746 85th Street
Jackson Heights 72,N,Y.
New York, April 27,57
Ify dear Erna Welll,
You cannot poesibly imagine my feelings
» »
* 1. . •
at the sight pf thc many senseless distortlons.-corrections" and delctions
* V
perpetrated upon my article in "Aufbau • .....:
Someone in the editorial department.Bcemingly in cahoots with compos-
itor and proof-reader,rode roughshod over lines.syntax and gramar of my
critique.
To put it Btraight,! attach my copy of the original text,not yet
adulterated in printer's ink.
Ify apologies!
Sincerely yours
/W^'^
erna
sculpture
schoneman gallery
63 cast 57tli strcet
iiew york city
april 23 may 16.
called upon io analyze an artist's oeuvre,
one is tempied io speak ab out his schooling,
artistic ancestry and iiidividual style, tech-
nically and artistkally. — but in tlie case of
erna weilt this approacli would faü, because
the driving forte behhid her work is mainly
rootcd in spiritual and emotional sod.
that this ariist was born and cducated
in frankfort-on-ihe-main, for Centimes a
Center of german-jewish culture and aris,
and became indoctrinated with tlie thoughts
of the jewish phüosopher martin buber, these
were circumstances which left their tmpnnt
an her oeuvre not less, than did her early
schooling by a pupil of auguste rodm.
the anguish and torment of witnessing
the horrible fatc of her jewish Urethren in
her homeland engendered in her a compasswn
which liftcd the exprcssionistic power of
raany of her sculpiurcs to heights dose io
the oeuvre of kacte kollwitz.
in her poriraiisy admiralion for the spir-
itual or artistic achicvements of her sitters,
cven adoration for them as human beings
are i^aramount movers, dictaiing style and
trcatment of her sculptural media.
her devotional objccts, because of the
inspired use of irianglc and pyramui as
mystic forms, belong to her most individual
achievements. and the deaihless stones of
ihe old testament with their cast of kmgs,
propheis and patriarchs are a mam source
of her scidpiural ideas.
ihe ecstasics of love and commiscration,
picty and suppUcaiion find exjjression in her
most accomplishcd, soinetimes almost absiract
work small wonder that she was commis-%^
sioned to do a sculpture for ihe entrance
hall of the jewish centcr in teaneck, n. j.,
were she lives, works and teaches, this bronze,
''jacob's drcam'' bclongs to ihe disimguished
works of jewish artists that adorn some
modern synagogues in ihe united states,
b. f, dolbin.
critics from former exhibitions:
larry camphell i7i the *'art ncws": erna weill is
conccrned with the relationship of two figurcs tn
conflict — or in affeciion — .
aline louchhetmsaarinen, ''new york times":
ihis is a sculptor who manages to comhine emotional
approach with a true plastic sense, — onc marble
piece hos a stolid conviction — .
carlyle hurrows in the ** herald tribune": erna
wciirs sculpture — resolute modclling — dramattc
ivipact, — sinccrity and depth of feeling — .
sculpture
1. bathing in light (limestone)
2. blessings (vermont marble)
3a. elijah and elisah (marble eoncrcte)
3b. elijah and elisah (bronze)
4. dialogue (art stone)
5. lovers
6. ceres
7. waterbuffalos
8. best drink
9. twilight
10. danee of love
11. mother
12. prayer
13. ehassid
14. revelation
15. dream (bronze)
16. outcry
17. moses on the mountain
18. ingathering of the exiles
19. '' — and she put moses down at the briiik
of the river — ''
20. hannah
21. the unknown political prisoner
22. Jacob fights the angel
23. photo of ''baal slienr' (marble)
24 photo of ^'jacob's dream" (bronze)
portraits
25. martin buber
26. e. w.
27. Claude frank, pianist
28. rudolf serkin, pianist
29. nathan milstein, violinist
30. yemenite girl
ceremonial objects
31. ehallah platter
32. matzoh platter
33. menorah
34. shabath candleholder
some of these sculptures are in the permanent collcction
of the georgia state museum, athens, georgia; hirming-
ham museum, alahama; jewish museuvi, n. y.; hccalcl
museum Jerusalem; jewish Community centcr, teanccl\
n. j,; hehrew university, Jerusalem.
/
erna
f^'.
sculpture
A
schoneman gallery
|63 oasl 57t h stroet
I »
"^ ^ new york eitv
cxprn lyl /miav iß,,'
,>^^-^-
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(f) ''a:>o^PcA
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m\hd upon io anahjzt an artist', w,„fc-,
rooUd ,n^Wüu„l and emofionai loil J
Center of gcrman^^cunsh cultnre and arti
and hecanie mdocfrinated tvith ihe thouahl
V'^rfi ruxMimtanccswkich left thcir imprini
schoohng by apupü of auguste rod7n. '
I^L^jmMe fate of her jewish brethren h,
man „f hf. , "^'P^^'^'oni.tic power of
many of her sciUptures to heioMs do.r L
the. oi„vre of kaete kollwitz
e'cn adnrltl f<'hte^^ements of her sitters,
TeatZn^otf^'T:' ^:''"''«^ style aS
'■tmtment of her seulptural media.
. ^r devotional objects. becau^r nt th.
inspirea use of; trmngle and vüramiri «..
StA- S"^;; j- -nsi:;
prophets and patrZlt aZ n • ^ ^'''^''
metl^LT^"'^^- "f- ^"^'^ "«^ conimiseration ^'
Tgtety and supphcation find exnres<iint, ,"« \1"
siowfd /o rf,, 'o^^o^r that she was conimis-
Znftr.-T^P^''''' for the cntrance
fall of thc jewtsh centcr in tean^ck 7 7
»irK ^/ I &l^'^«^s^o ^A. di.tingtmhed
"""'"" ^*y'"'fi">i7«^Ä in thc united states
b. f. dolbin.
ÖxiBbitit>]
--*«•"
7
.^'^=*--'-^IlGDp
sculpture
1. bathiü^^ in ligiit (limestone)
2. blessings ( Vermont iiiarble)
3a. elijah and elisah (marble concreto)
3b. elijah and elisah (bronze)
4. dialogue (art stoue)
lovers
ö^^eeres
7. waterbiiffalos
8. best drink
9. twilight
10, dance of loye,
11. mother
12.,^prayer
"^ ßT' i;^\:eIation
15. dEeam. (bronze)
oiitci:^
njoses on the mountain
ingathering of the exiles
o/^tiSr^'^
hannali
the unknown political prisoner
Jacob fights the angel __^ -^
16.
17.
18.
If).
20.
21.
22.
24;'fl.hoto or'jacoh's dreani" (brp.ze>
1
25.
26.
27.
28.
^.
portraits
martiii bubeiv
e. w.
Claude frank, piaiii.st
rudolf serkiii, pia„i,sf
nathaii milstein, violini.st
.vemonite girl
'3(
:^.
rnhr, from f armer exhibitions ■
aJine tou-chheimsanrin^„ <<
31.
32.
33.
34.
ceremonial objecto
chalhUi platter
matzoh platter
menorah
Jjihabath caadleholder
I /Jerusnj,m.; je lish -o un / l 'y J?''^'"'*' "">«<>"«'
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PRINTING - ENGRAVING
172 STATE STREET
WEST ENGLEWaaD, N. J
Te
LEPHONE TEANECK 7-41A1
2»rac9
^■^ ^^
C:<ITICP FROM FOi^ER EXKIBITIONf! t
Larry Crmpbell In the ^lArt Neirn^' x — Fma velll In oonccmed
wlth the relatlonnhlp of t\ro flfruren In confllct or In affectlon —
/'JLlne Louohlielm-Saprlneni "l'evr York Tlmer>" : Thlr Ir p
Gculptor who mojir.f:e p. to cornblno emotional appror.ch idth a tmr plar^tlc
sence, one marble plece hao a stolld convlctlon •
Cr.rlyle Burroirs In the •^Heralrl Tribüne*' : Erna ''elll,©
Gculpture— rrnolute modelllnij. — - dramatlc impact,*--- clnoerity and
dopth of feellnp. -•
• Pap"0
:cuLP'rURii
#
5.
6^
7.
8,
9.
f. 3athln!:f in llr^it (limestone)
2# BleeBinfrn (Vermont marblo)
3a Klljaii r?nd • llß.ali (raarble concrete)
3b^ iCLlJah and Elicah(T>ron:!;o)
4* DialOfTue (art ctone)
Lovcrs
Geres
^^-^torbuffaloc
Best Drink
Txvillfrht
lo. Dance of Love
ll^llother
12.Pr:'yer
13%?hacDld
M- ^ "
15Vi>renjn
l6*Cutcry
VJ. -otQB on the Mountain
iB^Inratherlnf' of the Exllec
19 # — and öliG put Mo BOG doi^ii at the brinlc
2o#' arinah
2i»Thc \mImo\m pollticnl prinonor
22t Jacob flcl^itB the Anrel
23» lioto of" Saal ^^^em" (-lar' le)
24, Photo of ''Jo-cobB DrGam"( brenne)
f^.e^M:diÖttf
the rlver
Portr'^itG
n
25#rrof»i^artln ^mber
2^.
E#W^^
0-o€^Y^
rORTiUITf
28.
3o.
:^idolf r-crkln , plonlnt
Ilathrn nilsteln , vlollnlct
YeracnltG Girl
—■-^r
V.;.: OHIAL OBJSCTS
31, Chlloii Platter
32, Matsoh Platter
33, menors7li
3^1-, ohabath Candleholdcr
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p» In the poraanent collect Ion of tho x Oeorpia f't.-tc Mueeiim, A thp'n.s/f"-a ,
Blrminf^am '■up.eum/Ala. , Jewidi I^unomAT.Y. t Besalcl ITureum/Jerunalem ,
Ternock Jex'^lsh Coiimmnlty Genter/N.J, , Hebrevr UnlverGlty/Jerusalöra«
^sa^üi^ja iLüniBiL
PRINTINB - ENGRAVING
1'7 2 STATE STREET
WEST ENQLEWaOD, N. d
ELEPHONE TEANECK 7-41^1
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63 casi 57tli street
uew york city^
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Zistk anccstry and indwrdual / 4/'«; ';^J.
rooted in spiritwal and emotional sml.
thlttUs artist was hörn and educated
i. Miort.on4he.mam, for centvries a
Ltir Tgerrnan-jemsh culture and arU
ZdlcLt indoctUnated -it;\J^J;Zm
of the jewish vMos<>pher'mar m^^^^^^
were circumstances whieh left *'^«'^ J ^1^1
Zher oeuvre not Im than did her early
the anguish and torment of ,f ^"f_^i!zl
CA\A'yOL''^'^-^<::^
n„ "
ee^'
^Uiga^;^the horribU fate of her Jmish
T^T^^in her homeland engendered m her
Irethren in «''^ ""' , , ,j^ exsrpsstomsttc
^mliirprrt^mfrp^^l'onf^^^^^
itml or artistic aehievements öf H ,mrs,
e,,en adoration for them as J^^'^J/'^d
cre paramomt movers, dfaUng sii)le am
treaLent of her sculpt^al^^^^^^
her devotional ohjects, Ofcaim o(. »
X^tsaTpatnarck. are a « souroe
"^ 'TJÄS T^ve and conmiseration.
M Zdoatulpture for the e.trance.
^Tof thciewm center in tear.ech n. J.,
ttrel/ ^iSrÄs and teaches^ilfs Ironie
^'Zcob'sdreäm'' helong to the dist,.ngM
Jorks of lewish wrtists that adorn some
' \
^pproach with a ine fasUc s^nse,
^iece hos a «ioW <'7''»« ,7. ."^„w irihune": erna
carlj/le hurrgms in the ««^ _ aramutio
i)"^
'V
exhibition april 23;r-niay 1^> df^'-.lr ^ • - : ^^ I(p >
#
I,
-'?i.
ßculpture
I. bathing in liffht (limestone)
2 blessiugs (vermont marble)
3a. elijah and elisah (marble concrete);
3b. elijah and elisah (bronze)
4. dialogue (art stone) c.
5. lovers
6.^^ ceres •' '
7. waterbuffalo^r
8. bestiJrink
9. twiligbt
10. dance of lave-
II. mother
12. prayer
^. IS.^chassid ^^ ,^
14. pevrilatiott — ^^^^-' '
15. dream (bronae)
16. outcry
IT: moses on the mountam
18. ingathering of the exiles ' ^
Ä ^ 19. j^— and she put moses down at tlu^ -n-infc
/^•^i— ^ of the river — U
f . 20, hannah
2i; the unknown politieal prisoner
2i jaoob fights the angel,
' ^. 23.r photo of *'baal shem" (marble)
\ 24.^ Photo of -jacofe^s dream" (bronze>
■^ Portrait»,' ^ —
/ SS. ^itf . martiu Tuber ; ;:> ^
I
/o
'"S
2*
;(:
ü
im«»'— «.^•'»
M
e. w.
„^ claade frank, piaiust
J8. rudolf serkin, piauist
29. nathan milstein, violinisi
30. yemenite girl
^^^^ceremoniaL objecta ^^ «
31. cijlrt platter 6^A^££Z^^fO
32. matzoh platter
33. menorah
34. shabath candleholder
• these sculptures are i^^,^^ P^/i^^^
lection of the: georgia ^^f \^^ ^^^^^,^' ^^se^^ .
ga, birmingham museum/ala., J^^^^h mu^üi^
/n V bezalel museum/jerusalem,Qeaneck3.
jewish' Community center^n. j., hebrl^nOn?
versity/jerusalena. £ j '
/ .
££ pjAO^ /^L^tiL.
r
■'Z
«
^.
■§'
t
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P
1^
>
r
V^. • 1957
"Coranontr.ry"
Art ")opt,
^^criQcn Jevrloh C^ommlttoG
34 vfcct 33 rt
Tiei- York City
Doar "Ir ,
?«::n r* ^» ^.lilch , ao you cr.n reo fi-on ^.ho In-
in .ory deoply stln^a by ,1o.lä.^ibj^St'mrkor.
to mr-Icc nn p.ppolntncnt. ~ -cncc. r-l,,..7
X^^
ly jcnrc.
^uc^Zikc-^e^
r.
, (
A/5, , 1957
Mr. orln f^r^Alow
Jcvrlr;h '■^elee-raphÄc "ccr.cy
660 li'Qt ."-ve
II. Y
i %
De er l!r, rmolor ,
I Includc DOmo catlortier of my
evhil-ltlon , In vhlch I thourlit you mirht be In-
torootcd , "bocauco "^y vor^- ic ?:r.liily Gtirinilnte'i
by Jovrld:. cuLloct nattor.
bronac; -^llcf Tor *iin 'reoiroolt Jr l'-Oa -or^npi* ty^"^^-
Center ■■iif'. I ^-ri ircrklnjr. no" on r. dcclfii xor : icripie
In* '.'ectchcetcr , , „«^
I I-.c-Df! rou v;ill hr\rr « chrono©
to noü ".ho crlilblt , t-hlch^ In novr opcn to rc-^ortcre
only.
Slnoer-ely yoxirr...
-. »
«,-*»
(
^T'.;
S'
WHITNEY MUSEUM OF AMERICAN ART
22 WEST 64tli ST. • NEW YORK 19 • COLUMBUS 5-5300
April 10, 1957
GERTRUDE V WHITNEY, FOUNDER
FLORA WHITNEY MILLER, PRESIDENT
HERMON MORE
Director
LLOYD GOODRICH
Associale Director
JOHN L H. BAUR
Curator
ROSA LIND IRVINE
Associate Curator
MARGARET McKELLAR
Executive Secretary
Miss Erna Weill
886 Alpine Drive
Teaneck, New Jersey
Dear Miss Weill:
Thank you for your letter of April 5- ^y^?^?f,
more of us will certainly try to see your exhibition
at the Schoneiuan Gallery.
Yoiirs sincerely,
JTH3:pw
EXHIBITION AT SCHONE AN GALLaRIES
April 21 Issue: N I Times
Herald Tribüne
1 inch
1 "
V""
i
^
A
/
§
% 30.33
2U.gO
$ 5U.88
Rough Proof of your odv«rfisement in
^ ^^^ To mss
IStUf OF
1 16 East 59th Street, New York 22, N. Y. • PLaza 9-7621
FOR IMMEDIATE APPROVAL
B«low ic a proof of your advertisement, set according
to your copy and initructions, in conformance with
oor typogrophic regulations. We shall, without cost
to yöy, corracf any errors in wording made by us.
r, w tlioü h<nre to bill you et cost (chorged
by our printer) for ony other olterations you moke
in this üdvertisement, in accordonce with Standard
mogazine Publishing custom. Approvol must b« re-
ceived by noon of press dote indicated above.
SlUnce Means Appioval.
scufpture by
erna
apif
23-moV
^6
Schoneman
63 East 57, N.Y.C.
Rough Proof of your odvdrfisement in
TO PIESS
ISfUE OF
116 East 59th Street, New York 22, N. Y. • PLoza 9-7621
FOR IMMEDIATE APPROVAL
Below ii a proof of your odvertisement, set occording
to yoyr copy ond Instructions, in conformonce with
ovr typogrophic reguiotions. We sholl, without cost
to you, correct ony errors in wording made by us.
r, W9 tholl have to bill you et cost (chorged
by our printer) for ony other olterations you moke
in this odvertisement, in accordonce with Standard
magazine Publishing custom. Approval must b« re-
ceived by noon of press date indicated obove.
Sfience Means Approval.
scufpture by
erna
Op^
23-moV
^6
Schoneman
.63 East 57, N.Y.C.
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