davidaulloa/AmericanStories huggingface dataset:
The day book. [volume] (Chicago, Ill.) 1911-1917, 1913-06-12
MERELY COMMENT

NAGENGL NO1VA1N4LAN
It's all yours, ladies', help YOURSELF!
According to the Examiner it and
it alone secured votes for the women
of Illinois.
Believing which, of course, the Ex-
aminer expects to use said votes.
Which leads US to the conclusion
that the Examiner is in for violent
shock.
One way of committing suicide is
to allow yourself to be appointed
grand Vizier of Turkey.
One use we might put our school
board to is to hold it up as bad eX-
ample to other cities.
As rulers of an American common
wealth, the West Virginia military
commission is composed of excellent
tyrants.
Andy Lawrence appears to be CIV
ing up his life to filing libel suits.
Bryan apparently wants only grape
juice fends in the diplomatic service.
If Paterson, N. j., never has an
other triumph, it at least can claim
the ulSClncClOn OF introducing the,
hunger strike to America.
"ChiId born in absence of par
ents. "-Bucyrus (Ohio) Telegraph
Must have been in an orphan asy-
hum.
The legislators DO not appear to
think that Chicago is big enough or
old enough to look after itself.
Possibly the legislators were re-
f1ecting on their own sad case when
they killed the home rule bill.
But, of course, the legislators may
merely have been indulging in their
favorite amusement of whipsawing
the administration.
Wouldn't it be a good idea for some
member of the county board to ac-
cuse another member?
Or for a member of the schools
boo-5 n hint fboF onofbor y,,.o,,, 49,,
The day book. [volume] (Chicago, Ill.) 1911-1917, 1913-06-12

At a meeting at which Bishop Viii
berforce presided man, whose name
was on the list of speakers, said to
the bishop: 81 need not speak; I
don't think they expect me-" "To
be sure they do said Wilberforce.
'Don't you see they are all going?"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16
Old Acknowledgement IN
American Collecting.

Events have amusingly falsifed GER
tain conclusions which seemed beyond
all question not so many Yeas ago
When practically everybody who
bought pictures at all was buying the
works of the Barbizon school, or be-
ginning to take an interest in the I'M
pressionists. the comparatively few
collectors who devoted themselves 10
the old masters were regarded as nee
essarily patient Searchers in a very
difficult field The market seemed linz
tied, especially as to paintings OF
schools other than the Dutch and Flem-
ish. To-day all is changed. The old
masters Of all the schools, even the
Italian. are no longer hard to come at,
but, on the contrary, threaten to "ut-
number the moderns on the walls OF
local galleries. The change has had
several causes, and conspicuous among
these have been economic and social
DEVELOPMENTS abroad New conditions
troubling the landed proprietors Of
Great Britain undoubtedly did much TO
promote the vogue of eighteenth CEN
Jury English portraiture in this couA-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16
A Group of Three Superb Old
Portraits.

A case in point is provided at the
Cottier Gallery possessed at the mo-
ment of a Respondent trio of portraits.
One of these is a Lorenzo Lotto, be-
lieved by Mr.. Berenson 10 be a portrait
Of the great navigator, Sebastian Cabot.
Interesting thus historically it is also
a fascinating example of Renaissance
art. Lotto was one Of those masters
who joined to a subtle feeling for char
acter an exquisite technique. and, above
all the magic of a pure, individualized
style. This simple, sincere study of
aged personality is also very fine in
color, very beautiful in drawing and
design, and richly enveloped in that
quality of noble dignity which was
most characteristic Of the masters
school Yes. this is decidedly a museum
picture. which is to say a masterpiece.
There is another Italian portrait in this
group. THE Man with the Hour Glass"
by Bartolommeo Veneziano. II has not
the psychological significance Of the
Lotto. and this is not a matter Of sub
ject alone. Bartolommeo could not in
any case have exercised the penetrating
gift of characterization which we OBJ
serve in the portrait Of cabot; his was
a more pedestrian art. But he. too,'
knew how to compose and how To draw.
The head and torso Of his handsome
sitter are set against q cunningly de-
vised background. half Of il deep
shadow and the other half giving as
through a window a view Of lovely
billy landscape, with water in the mid
die distance. The portrait is an eX-
J quisite souvenir Of that sophisticated
simplicity. which gives so refined and
/ so intellectual a charm to so much
/ Renaissance painting. The third Of
these works is THE Man with the
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16

try. Old families long believed to be
impregnable had TO sell their heir
looms. Then came the chance of the
American collector, and. as it happened,
the architects designing his new house
were getting into the habit of proVid-
ing Just the spaces needed for the CHS
play Of large, courtly canvases. In a
word. supply and demand conceded IN
quite natural fashion. Overnight as
It were, the English old masters en-
tered into our artistic expansion
The French school of the same period
became fashionable here in much the
same way. Collectors, and, again,
their architects, realized the magn!ii-
cent decorative possibilities in the por-
traits of Natter and Largilliere. the
garden scenes Of Vatican and the al
legorical compositions of Boucher. In
France there was no such distressing
pressure upon historic houses as there
was in England, but, on the other hand,
in a land Of collectors a great body of
pictures is always passing through the
auction room Americans had there
fore only to discover a French market
which had always been open to them.
Meanwhile the dealers were realizing
their opportunity. Watching the rapid
strides made by art education and
taste in the United States, they rac-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16

pictures he also designed furniture and
the like. so that his firm became known
quite as much for its decorative work
as for anything else. Since his death
and that of his equally effective partner
James Inglis. the business has for some
years been carried on with the same
policy. but now MIR. Fearon, the sur
viving member Of the organization, has
resolved to deal only i'm paintings and
objects of art All the miscellaneous
furniture, tapestries, stained glass and
other Cottier possessions were placed
on view yesterday at the American Art
Galleries. and will be sold there on
seven afternoons. beginning November
10. The new Cottier Gallery. in upper
Fifth avenue, is a gallery in the strict
sense, where paintings predominant. 1t
has been opened with an exhibition
embracing many notable French and
English works, but the portraits TO
which we have referred best signalize
the establishment on "A new basis OF
the old purpose which diu most to make
the repute Of Daniel Cotticr.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16

ism which brought Scriptural subjects
down to earth and set did not leave
them earthly. one hardly knows which
is the more to be delighted in, the pict-
uresque almost Italianate landscape.
or the individual interest of the figures
crowding the composition. The compo-
sition as such is perhaps Il little stilted,
but one forgets this i'm the contempll-
ton of the masters craftsmanship and
his glowing color How old Lucas cpui
draw head, How ne could invest a
figure with poignant, human interest
And how. in his quaint yet profoundly
simple and honest way. he could dram
atizc his subject, touching the imaGi-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16

dazzling array of drawings from all the
schools a large number of the plates
reproduce gems from the collection OF
NJ. David Well. They begin with one
of the masterpieces of Vatican, his
portrait of Jean-Ferry Rebel, the COM
poser and orchestral conductor who is
honorably remembered in the history
of French music Then follow a
double portrait by the witty Portal,
bold nude by Boucher and another in
a lighter vein from the same hand,
landscape by Fragonard, and some
typically gay pieces by Gabriel de SAINT
Aub!n. From the WE'LL collection there
comes also one of Prudhon's romantic
studies Of the Empress Josephine. The
drawings for the rest of the portfolio
are brought from various sources-an
interesting Durer from the Bibliotheque
Rationale. remarkable military sub
Jet by Genga from the Ecole DIES
Reaux Arts. two strong Rembrandts
from the Strolin collection, and an eX-
ceptionauy brilliant Fragonard from
another private source. Especially in
teresting is the drawing by Huquier
which is believed 10 he "A sketch of the
cabinet Of the Marquis de Marigny, the
renowned amateur of the eighteenth
century This SGHgUHc beautiful in
itself is OF special value as giving US
an idea Of the manner in which rep
resentativc eighteenth century COL
Icctor the brother Of the Pompadour
displaNcd his works Of art.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16

books, but considerable area IN -.
walls has been reserved for draw,r..
and paintings, selected from the lin.
trations constantly being made for ,b,.
firm. Thus at present the space is 4,
vided between Mr.. n. C. Wyeth's Mo,
ures for q new edition of Stevenso..
Kidnapped and Mr.. Paul Branson,,.
drawings for THE Wind in the wu
lows" by Kenneth Grahame. II is yoos
to see Mr. Wyeth's designs in the or,o,
nal form. In a composition like nj.
"Mr. Balfour of the House of Shaws,
he is really the painter as well as N.
illustrator. producing a capital pictr,.
both as regards the arrangement Of .b.
figure and the skilful working out ~
mellow chord of tone. His picturesque.
ness in all his illustrations is not n,
affair of costume merely, but Of DR..
matte action well interpreted. Mr.
Bransom's drawings, chiefly concerped
with animals, are admirable for their
originality and for their quiet humor
The picture of two rats talking thing,
over-"Its hard life. by all accounts"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16

uses his line, with what discretion he
says what he has to say, knowing al
ways what to omit. Unmistakably
Cameron is one of those etchers, like
Whistler, who have cultivated the
needle for its own sake and have
thereby shown their grasp upon the
true genius OF a beautiful art. But,
unlike Whistler, this junior Of his re-
spends to the sentiment in nature,
gives nature her chance and over and
over again gives us not only an en-
chanting web of line but a portrait of
a place. His landscapes brim over
with the poetry Of Scottish lakes,
moors and hills. In his urban subjects
he treats architecture with the rarest
sympathy, bringing out the truths of
substance and of structure and con-
irving further to express the romantic
sentiment in which most of his build
ings are saturated. Occasionally he
has interested himself in some mani
mate object, like an ancient Egyptian
or the grotesque "Aquamanille'
of medieval origin. When he draws
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16
MATTERS Of ART
@bezsags s2ssZ>4B3 III Gaf4SzsSsRap
'S'' Elsz} }h F'

voluminous collections that they can
gain needed funds by disposlng ul
masterpiece from time to time without
any serious loss to the distinction Oh
their drawing rooms. Money, obvious
~. has PLAYED a great part in all TINS
But it is interesting to note how cat
urally the change has come about. now
by those inevitable laws which govern
economic and social movements the
rise of American culture and certain
phenomena in European life have
worked together.
All these reflections. opposite enough
at any time in the last few years, are
invited more particularly at the pres
ent moment by the extraordinary &C
tiVity which is to be noted among me
dealers. Their name is legion, and 10
stroll through their galleries is to mar
vel at the scope Of their operations.
Formerly a dealer might make a SON
sation by bringing over and exhibiting.
say, one famou- Rembrandt Now Such
an importation scarce TlppIcS inc sui
face of things At the Kleinberger sal
leries, Cor example, the whole De Rid
der collection is presently TO be shown,
a collection of more than four score
pictures, including three Rembrandts
as many paintings by Halls, as many
by Rubens, and so on through pro-
digious list. This group of old masters
is, TO be sure. exceptional in scale, but
it illustrates a standard which rules
everywhere. In one gallery after an
other the spectator is impressed by The
high quality of the old masters shown.
The work which we used to regard as
"a museum picture destined inevita-
bly, for some public gallery. is now
brought here for the private collector.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16

Levy, winner of the Mooney Travelling
i'm 1911, have been placed on exhibition
in the Academy Room at the Fine Arts
Building. Miniatures by Allyn Williams
may be seen at the AIoulton & Ricketts,
gallery. At the Dudensing gallery
there are water coors by William
Pretyman. Small bronzes by American
sculptors are being shown by the Cor
ham Company. At the Montross gal
lery there is an exhibition of early
Chinese art. paintings, potteries.
bronzes and stone sculpture. collected
by Mr. A. W. Bahr. The exhibition at
the Macbeth gallery is made up Of
thirty paintings by thirty American
artists Recent paintings done in New
England and in the Bahamas by Walter
Karl Pleuthner fill the Stollberg gal
cry. At the Arlington gallery the Asso-
citation of Women Painters and Sculpt-
ors, which was formerly the Woman's
Art Club of New York. is giving its
second sketch" exhibition. 1t includes
small paintings. miniatures, etchings,
drawings and sculptures. Paintings by
Allen Tucker are at the Folsom gallery.
On Columbia Heights, over in Brook
Ign, at Ardsley House, there is double
exhibition. containing recent paintings
by Hamilton Easter Field and wood
carvings by Robert Laurent 1t shows
a room which these two artists are
decorating together. Elsewhere in the
house there are pictures by John La
Fargo. Winslow Homer, CASTOR La
Touche, and others.
The Scribners have inaugurated an
excellent scheme in the little gallery
which is raised, at the back, above the
floor of their book store. The place Is
arranged in part for the display of
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16
From Rembrandt to D. Y. Cam
erOn.

Every week, as the season progresses.
witnesses the opening Of more exhibit
tons of prints. At the Keppel gallery
there is an important collection of
Rembrandts. containing a number or
rare and very beautiful impressions.
The show has been well arranged so AS
20 illustrate the master in all his varied
moods. There are many of the por-
traits, including, of course, his own;
the landscapes are here. and, with
subjects. These last are always doubly
welcome. The portraits show the stu
dent OF mankind as well as the tech
nician. but i'm the SCriptural plates
Rembrandts imagination is made free
Of a larger world and is wreaked upon
high-erectcd themes with thrilling
power. The connoisseur is bound To
traverse an exhibition like this with in
tcrcst in what are. after all, extra
artistic matters. the rarity of a state
or the quality Of an impression. But
If ne cares for the essential Rembrandt
he comes back to the poet and seer in
that great artist, subjecting himself To
an appeal now tragic. now tender, and
always intensely religious. We begin
by looking at these masterpieces AZ
etchngs We end by looking at them
as pictures.
Some such transition is made 10y the
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16

upon in speaking Of Natter. 1t is a
portrait by Drouais, in which the
Marquise d'Erbrouville is represented
as Diana, bow in hand, with a hound
before her. The subject is charming,
and it is painted with the light, infin-
itely graceful touch characteristic or
the old French school at its best. Es-
pecially brilliant is the execution
around the lovely head, where the hair
is painted almost as daintily as in a
portrait by Gainsborough. In contrast
10 his French works Mr.. Fischer shows
a remarkable example of Lucas van
Leyden, David Before Abigail" good
illustration of the Netherlandish real
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16

these things he draws them superla-
lively well. We have seen nothing like
his "Aquamanille" aforesaid so good
since the plates in which Jacquemart
displayed his miraculous feeling for
the special tone and texture Of ancient
metal Cameron raises the little bronze
object TO a higher power, making his
plate from it a really brilliant study in
form and color. Still. an exploit like
this, interesting so far as it goes, seems
of small moment beside his landscape
and his architecture. There, besides
technique. he works with emotion, and
stirs not merely sensation but thought.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16

4 certain sentiment attaches to the
little company of portraits at the Cot
tier Gallery. Back in the IO's. when
this firm was founded by the late Daniel
Cottier, it assumed a rather specialized
Significance. The late Samuel u. Avery,
the great pioneer among American
dealers. distinguished himself as a con-
ncisseur. He bought the productions
of the Barbizon school when apprecia-
ton Of them here was in its infancy
and did much to create new and bet
ter taste. Cottier did yoeman's service
in the same field. He. too, helped enor-
mously TO set the American collector
on the right track. While he dealt i'm
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16

Rosary" a noble portrait by the elder
Cranach 1t is instructive TO turn to
this from the paintings just traversed
and to note how that same fine linear
quality which belongs TO THE Man
with the Hour Glass" is made harder,
more powerful, by the Northern master.
Here the artists aim is not so much
to charm as to convince: he practises a
severer, and. perhaps-through the
working of a more intensely human
emotion-more sympathetic realism.
The Cranach. ii may be added. has in
it's surfaces an almost jewei-iike brill
lance.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16

sacked Europe as it had never been
ransacked before. II was largely o"-
ing to their initiative that old Spanish
art was presently made more familiar
here, and as their campaign gathered
impetus all the schools were swept into
the American net, the coveted Italians
Now the private galleries across the
sea which had once appeared TO share
the permanence Of the public museums
are constantly drawn upon for treas
ures 81 old paintings u is said that
in England, where untold riches Of art
stu e1ist, many families have such
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16
Eighteenth Century French
Art.

French art is to the fore in the car
rent exhibition at the Fischer gallery,
and is particularly interesting In the
case of one portrait by Natter. The
conventional Natter is known to every
one, the large portrait in which some
great lady of the court is posed III Il
rather artificial attitude, while her
gesture, as well as the accessories in
troduced, invites us to admire her in
an allegorical or Hydrologic role. The
broad effect is superb. Matters eigh-
teenth century goddesses may have
nothing in the smallest degree divine
about them, but they are undenlabiy
imposing types, the true daughters Of
an essentially spectacular regime. 1t
is TO their beauty no less than to his
wonderful craftsmanship that the
French master owes his fame. But Mr..
Fischer's painting is in another key.
which. to tell the truth. Is almost more
beguilng. This Madame de Miro
mesnil" is modest in scale. as BELTS the
artists delicately intimate conception
Of his theme. Painting this time only
the head and bust he seems to forget
the court. to portray only the woman,
and in doing so he adjusts his tech
nique to her candid spirit, simplifying
it and giving to his work something Of
the quiet rectitude of a Chardin. Stu
dents Of French art would do well to
observe this portrait SO az to correct
their impression of a master almost
never seen in so sincere a mood. .
It's companion in the present exhibit
ton is beautiful illustration from an
other hand of that conventional mode
of rnrtraitnre which we have touched
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16
More Prints, Paintings and H.
lustrations.

Etchings by Brangwyn are at the
Print Room Of the Public Library.
Etchings by Cameron and a number Of
plates by Muirhead Bone are on view
at the Kraushaar gallery. Etchings
and paintings by William Auerbach-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16

student of one of our modern etchers,
ID. Y. Cameron, the Scotchman whose
work is just now on Wow at the Ken
ncdy gallery. He is skilful crafts
man. 1t is pleasure in surveying his
plates TO note with what deftness he
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16

nation even while his naIvete half pro-
vokes a smile,
Apropos of all these old masters
there comes delightfully."- TO hand the
portfolio for 1913 OF the Socete des Re-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-11-16

one of them murmurs-is perhaps the
best example Of how this artist con.
trives to make his point without falling
upon the fantastic exaggeration so often
encountered in work of the kind.
r C.
The evening times. [volume] (Grand Forks, N.D.) 1906-1914, 1913-04-01
ONLY ONE CITY fund HAS been 0VERDRAWN:
ALL OTHER APPROPRIATIONS IN GOOD SHAPE

The condition of the city's appro-
priations are shown by the statement
Of City Auditor Chas. Evanson. sub
United to the members of the council
today. Only M fund. that for the
tool shed. is overdrawn. Following
are the accounts by department.:
Engineers ACKNOWLEDGEMENTS
ton. $4,000: months expenditures,
$224.56; expended to date. 1883 rs;
balance. $3.300.24.
Police ACKNOWLEDGEMENTS
ss65.45; expended to date. s~s.s4s.ss;
balance. $~5,s56.32.
City neutrality-suspicious., $4,000;
pended to date. %$1,461.70; balance,
$s3s.30.
Auditor - Appropriation, $4,000:
months expenditures, $275.01; ex-
pended to date, $~1.651.46; balance, ST.
348.54.
Legal Appropriation. $4,000;
months expenditures. $3.50; expended
to date, $1.055.61; balance. $1,144.39.
Treasurer = Appropriation, 50, 900:
months expenditures. $162; expended
to date. $969.70; balance, s1.03O.30 I.
Street Appropriation. s12,225;
months expenditures. $2s1.30; ex.
pended to date. $~4,616.16; balance,
$7.SOS.S4.
Road and MISREPRESENTATION.
$1,000: months expenditures. $500:
expended to date, $419.58; balance,
$630.42.
Light Station - Appropriation. 49,.
$50: months expenditures. $616.a 5;
expended to date, $~4.931.s6: balance,
$3.728.14.
City Electrician - Appropriation.
$4,000; months expenditures. 1880;
expended to date. $%1.610.25; balance.
$~2,689.75.
Fire Department - Appropriation,
$12.sss; months expenditures. $sb6.4s
$6.O90.15.
$3.50; months expenditures. $174.24;
expended to date. $~1.3S6.96; balance.
$S,254.04.
Mayor and Council-Appropriation.
81. 200: months expenditures, $S.3S;
expended to date. $22s.31; balance.
$771.69.
Assessor and Board Of Equalization
Appropriation. $4,000; months ex-
penditures. 1901: expended to date.
$72s; balance. S1.472.
Waterworks superintendent APP
preparation. $1,000: months expendi-
lures. s556.2s: expended to date. S.
563.24; balance. $3.4S6.76.
W~aterworks Station - Appropria-
ton, 312,22O; months expenditures.
S24S. 81; expended to date. $6.5l5.21;
balance. s 6,704.7S.
Implement Shed - Appropriation.
$4,000: months expenditures. $14.22:
expended to date. $2.738.43: %overdraft.
3238.43.
Board of Health - Appropriation.
$500: months expenditures. $55?.5o:
expended To date. $3.741.63: balance.
~$2.758.37.
Public Library - Appropriation.
expended to date. $4,000: balance. 81
$50.