The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-12-30

after Hoppner, q very rare mexzottnt IN
color; several OF Wheatley's curious 'Streee
Cries, > after Schiavonetti-the complete set
numbers thirteen and in hard TO gather;
and a fine black and white after Romney'
by Henry Meyer, which looks a little ike
Maude Adams. This plate, too, Is rare-eo
rare that when you eagerly ask the price
not even the bland i~ntonatiou OF the direo-
tors voice prevents your heart and your
purse from humping to your Zoo
is demanded The picture hangs in the door
way and seems to say 10 the naughty nlgn
priced paintings in the outside gallery,
EFT ego in Arkady.' Black and white also
has its prohibitive coasts. Dnrers "Melan-
cola" can be purchased for 81 900, or FOR
$500, according to the states of h engrav-
ing. BY the same token, then, the magnin-
cent impression In the possession OF Mr..
George Vanderbilt should be valued at
IS 900. But let us be moderate and not
enter into the vortex of artists proofs
and early impressions. That way vertigo
lies.
In Kraushaar's gallery. 200 Fifth avenue,
you may study hed development OF modern
engraving, mezzotints and etchings. There
are Bartolozzis in plenty and after Cipriano.
the favorite associate OF this stippler and
mezzotinter. Dicksee. the popular etcher OF
animals, is represented by his best work,
and the very elaborate plates OF Axel Hang
devoted to cathedral architecture may be
enjoyed. Joseph Pratt, a pupil OF Samuel
Cousins, the last Of the classic engravers, Is
a mezzotinter who pursues his art with I'M
w~earying fidelity. We must not look Tor
the velvety richness Of Richard Earlom
or J.. r. Smith in the impression OF this
latter day practitioner OF the art. Pre-
pared steel surfaces now enter into the
composition Of the copper plate and there
is q consequent loss Of depth and mystery
and a gain in lucidity and brilliancy. Pratt
mezzotints all the master works Of English
portraiture and he is ~singularly successful
in his interpretations, barring the absence
Of suave rich zones. But time may come
to his aid and his angularities and h~arshness
Of definition appreciably disappear. His
Hoppner and Romney plates are very en-
gaging.
In the window OF the Schaus Gallery in
Fifth avenue is a pastel by Boldini of the
opera singer Lima Cavalier. II is in the
usual brilliant key Of Boldini, a blush color
scheme, relieved by a grayish fuffiness in
fur at the young woman's back. She
sports a string Of pearls. Her hair is jet
black; she shows her profile. 1t recalls
Adelina Patti at the age Of rs. 1t is a DASH
ing, II superficial, performance.
The gallery Of the New York school OF
Art at 22S7 Broadway displays etchings of
John Sloan and paintings by Everett Shinn.
The Shinn pictures have been exhibited
before. Mr.. Sloan's contribution consists
OF his illustrations for the novels OF Pau de
Kock, as full Of humor and mordant irony
as Daumier, and the black and whites Of
modern themes. These latter are mastery
co~ndensations OF life viewed through the
spectacles Of an ~ironist, but one who has the
courage Of his sentiment. Several are pitt
less arrangements Of civilization. Sleeping
on the Roof a study of a torrid night in
the East Side, gives one the shoulders. 1t
evokes for US the bestial that turks in man
and appears when overtaken by poverty.
disease, misery. The humor OF The
Woman's Page" is as broad as Gillray or
~Rowlandson, and yet Of the day after to-
morrow. Sloan is a man who is doing
things.