davidaulloa/AmericanStories huggingface dataset:
El Paso herald. (El Paso, Tex.) 1901-1931, 1916-06-14
Money to Lean.

Money to Lean.
MONEY 10 LOAN on 5000 insids 6usinesS
property. per cent interest. A. P. Coles 4
Bros 202 y. Oregon
IS TO $50 LOANED honest employees With
out security. also FURNITURE owners keeping
house Cheapest rates. Easiest payments.
Confidential Quick satisfactory service.
Drake. col Roberts Banner Bldg.
PLENTY OF MONEY 10 loan on dairy stocll
horses mules. rOUmiuE house Furnishings
automobiles OF any approved security at cur
rent interest rates. Notes bought and sold.
Quick action and confidential dealings AZ
S15 Trust Bldg
El Paso herald. (El Paso, Tex.) 1901-1931, 1916-06-14
Wanted-ReaI Estate.

TSSTE6D OK ; ROOM 7CO5Tfrl,S.f N g
ominE 81 from toe 1909 block on easy
terms Phone $3.50
El Paso herald. (El Paso, Tex.) 1901-1931, 1916-06-14

FRESH buttermilz and butter churned every
day and delivered Phone Graves 5ss5 J.
El Paso herald. (El Paso, Tex.) 1901-1931, 1916-06-14

-------s--~7----S-----~
HOUSES RAHsFER-Phcns 1899. Prompt
ard reliable service.
El Paso herald. (El Paso, Tex.) 1901-1931, 1916-06-14

J. IT, Cconr. Tote 1880 incl
Mrs W 7. Rcbi-Hon. lots IL.
El Paso herald. (El Paso, Tex.) 1901-1931, 1916-06-14
Situations Wantsd-FemaI.-

RAPID expsrienced iSdy Sfe ,i,7l17>-1-
sires permanent position. Telephone 7Sr
El Paso herald. (El Paso, Tex.) 1901-1931, 1916-06-14
Situations Ranted-Male

WANTED-Position b. man md Vic n
ranch address Box l-4- Mcsiiia Park. y VI
CARPENTER WORK-Porches. rsrarss. re-
enable Guaranteed Phone 1916 J.
single Phi c. Good health Do NOT xnes-
spanish Several years experience Rest Of
references Address J. T. Fuller. Knox CITY
El Paso herald. (El Paso, Tex.) 1901-1931, 1916-06-14
NORTH SIDE

Clarence Harper. lots I. ---.--
Grace H Harcout. g ". D. OF
J. 3 Buckner. F. q Of s. an 800
Miss Connie McEie. ". p OF
Il y. Thompson. r . Of .. E "
O. F. Hcffier. 2. So 1T % .. all 10.
J. r. Norford L. " ~ i--ft. OF =
Geo Beaudett. J.. eiz-ft. OF IS. Il. Y
Curb 500 600 ---. ------
" 2 Neal z. = OF Is. al IS 80
Curb
El Paso herald. (El Paso, Tex.) 1901-1931, 1916-06-14
Special Notices.

CHRPESTER VII fiSGre nv q rs1S +
work. porches and garages specially
The sun., 1916-12-03
pine Trees, Lake Garnet" by Edward Fisk. On exhibition
Daniel Galleries.

time. swirling scarfs of yellow and red
through the air very gracefully. All
around Mademoiselle Fits head the
atmosphere vibrates esoterically the
way 1t does around Isadora when the
latter is at her best.
There are some watercolors Of Mr..
Demuth that have not been hung
upon the walls. The subjects were
suggested by a reading of Zola's
Mana" They are kept hidden in a
portfolio, and are only shown to mu-
scum directors and proved lovers OF
modern art upon presentation Of visit
ing cards. They are quite advanced in
style-but perhaps now 1t is time to
talk about Mr.. Fisk.
Mr.. Fisk Is an undeniable colorist
too. He had shown some flower pieces
previously, done with an intentnese
that was Individual. In the present
exhibition he shows a number of land
scapes. all in fine color and broadly
conceived. His success il such that he
must be added to the honor list of
young painters who will bear watch
ing. There is at present a little echo
in his work of the name OF Samuel
Halpert. but this is something that
doubtless will pass.
The sun., 1916-12-03

the student becomes aware Of the
greatest achievements Of the past and
consciously and co~urageously gives
himself up to rivalry with the masters.
The great Rembrandt is equally great
when he takes an etching needle in his
hand. and the great Durer knows no
lessening in style when drawing upon
a copper plate.
Reinhardt came back from Europe
already an exhibitor at the Salon. II is
true his paintings as paintings were
less distinguished than his pen and Ink
work later became. but his illustra-
tons had the fine. free certainty that
came from his experience as a painter.
1t has been said by many writers upon
art. and 1t Is true enough. that pen and
ink is an admirable medium in which
TO show off learning, but n bad one in
which to acquire 1t. The would be
artist who begins life as a pen and ink
illustrator. n who persists in II too
long seeking for breadth and freedom.
lands very soon in d frightful bog.
Mr., Benda. to get back TO our ex-
ponent OF the dance, draws with fair
accuracy. but not Interestingly There
Is scarcely "A piece OF his huge draw
ings anywhere that one would pre-
serve rapturously as one would draw
ings by Abbey or John L.ecch or Fred
erick Walker or Dante Gabriel Ros-
setti; for the English too had their
great day in illustration back in the
time OF the pre-Raphaelites, and they
have since had their decline and fall OF
too. To say his work is not precious
declares II to be without style.
The cartoons exemplify the dance in
all nations. but to me. except for n
group OF dancing Slavs. Mr.. Bcnda's
nations all look alike. His young dane
ing girls have an undeniable but vapid
pr%ettiness. but whether they wear
Greek robes or Malaysian costumes
they make the same gestures. They
are like the young persons in the latest
successful musical play on Broadway;
they actually seem to make an effort
not to create an illusion. And once the
artist loses his control over the specta-
tor the sceptic that il within all of us
becomes rampant. ! confess I even
went so far as to suspect that Mr.
Benda did not go TO Africa to get his
African picture. And 1t was in think
ing that Mr.. Benda studies his Homo
The sun., 1916-12-03
Charles Demuth and
Edward Fisk

Charles Demuth's assets as an artist
are: A delightful color sense, a deli
cate and rare sort Of humor and n
command over flowing line. lie is
showing a number of his new water
colors in the Daniel Galleries and at
the same time Edward Fisk fills the
smaller gallery with some vigorous
landscapes in oil.
Those who know Mr.. Demuth's work
already will agree OF ourse that he
has progressed. lie still goes TO vaudc-
vile shows and Is still cntranced with
those wonderful beings of both sexes
who wear carmine tights and do mar
wells upon the flying trapezc or the
trick bicycle. Mr.. Demuth has not
only painted n long series OF these
gifted acrobats. but also the two pat
ter" artists in black face and clogs, the
heavily built soprano with the yellow
hair who sings 1.-THE Rosary" ana,
last but not least. Mademoiselle Fiji,
the world renowned equestrienne.
OF all these dazzling creatures, |
like Mademoisellc Fin best. That il
illustrates perhaps as well as anything
how conventional at bottom my tastes
really are. Mudeiuoiseilc la i.ies u
| picbald horse, ana she does some lsa-
dora Duncan business at the same
The sun., 1916-12-03

Of this country at that time were al
most as wabbly as those of Europe.
Yet the porcclains were sold and the
profits upon the deal. regarding il just
as n deal, We're immense, 1t was re-
marked at the time that many a
shrewd capitalist envied Mr.. Morgan
the transaction; it was sufficiently APP
parent that what had seemed an in
diligence in luxury had in reality
proved to he exceedingly good bust
ness"
There il prestige to be gained from
the possession OF a-hoX at the opera,
but vastly more reclame goes with the
ownership of precious antique works
OF art. Mr.. Morgan enjoyed all the
prestige OF owning the hest porcelains
In the world, and when a critical no.
mcnt arrived and 1t became necessary
to unload them upon n paniCky mar
ket he realized upon the investment.
One cannot always do as well with
stocks and bonds.
The chief stumbling block for the
rich man h~csitating upon the brink of
the art proposition is the fear OF maxi
ing mistakes at the outset. | have al
ways UNDERSTOOD mat MT. MoTEan
made many mistakes. ] have never
heard OF q collector who did o make
mistakes. but the successes of Mr.,
Morgan gloriously compensated for the
errors.
Possession In fact brings knowledge
In its train. 1t IL as true OF porcelains
and Chinese art in general as it Is OF
paintings and sculpture. The late Ben
jamin Altman. who took up the cult
for Rembrandts comparatively late in
life, became one OF the recognized ex-
perts upon Rembrandt. 1t was his
habit. so il was said. never to buy a
Rembrandt without having 1t sem first
to his private gallery. where he care
fully and studiously compared it with
his already accepted Rembrandts. lie
did the same with his Black Hawthorn
vases. The iridesccnt liShts that glow
In The bottom % century old G!rZcs
can never he compared with anything
! except each other, No one learns "a
The sun., 1916-12-03

bandaged will open easily to purchase
jewels. carriages. stocks and bonds or
country villas, but will close in con-
fusion at the mention OF a work of
art. Buyers OF works OF art are not
grown all OF a sudden. The taste for
them must be innate and depends
upon an erudition born Of experience"
And so on through a long pessimis-
tic article Cousin Pons occupies itself
chiefly with the prices and sales Of
works Of art, and naturally has
caught some Of the depression which
mandates all the dealers OF Paris at
present. But clearly a campaign OF
education for these fortunately newly
rich Is entailed upon Cousin Pons, and
upon us Americans as well.
Since all these suddenly prosperous
ones are opportunists. II follows that
they must lie strongly practical. and
hence IL will not be necessary for
Cousin Pons to talk about the Inmate
feeling and the "uplift" that goes
with art so much as the mere excel
lence the field Of art provides for the
shrewd investor. These people have
become rich suddenly. II is true, but
the odds are that they also wish 10
stay rich.
Therefore give them concrete in
stances.
Tell them about the Morgan porce-
lains. Nobody yet knows exactly why
the present ]. p. Morgan sold the
Chinese porcelains which had been
one OF the chief prides of his father
and incidentally n OF the chief
glories OF the Metropolitan Museum OF
Art.
But obviously he needed the money
they represented for another purpose.
The moment chosen for the sale was
the worst imaginable. The good times
we are now experiencing had not
yet come. On the contrary the finances
The sun., 1916-12-03

know them so we'll as he who owns
them.
The quest Of the collector, II need
hardly be said. should he from the be-
ginning for the super.ative examples.
The times have changed greatly from
the early Mary j. Morgan sale-it Is
curious how much porcelain history In
America Is concerned with the name
Morgan-when the entire country was
somewhat s~candalized because w. T.
Walters Of Baltimore gave $4,000 for
a %peachblow vase, and nowadays Mr..
Frick can pay 5000, 900 for one Of the
Morgan h%awthorns without half as
much public disturbance. 1t is Just as
true now, however, as a generation ago
that the chance of a dlminution in
value Of a superb masterpiece is prac-
tically nil. Masterpieces. or the con-
trary. always go up.
ut seems that all the great buyers"
cries the blue Cousin Pons. at this
moment are Americans. and the stocks
of our merchants who deal with them
are diminishing In enormous propor-
tons. The majority W declare that
these stocks cannot be replaced. since
there will be no more of them to
buy CD, but the thing that empha-
sizes the American buying particularly
The sun., 1916-12-03
LAmour au Theane Iuien" Cochins engraving in the Hakey collection at Andesons

did not apparently much interest Mr..
Davcy.
Mr., Davey in fact seldom concerns
himself with textures.
But "Bcllhina' is an attractive little
thing. nicely placed upon the canvas
and done In telling eXpanscs of almost
fiat color. Most OF the other figure
studies are of street urchins. the faces
done with Mr.. Davey's usual intentness
and the rest OF the picture a mere
scumble OF the refuse paint from the
artists palette. 1t is a peculiar and
brittle technic that seems danger
ously fiippant when used upon a theme
such as The Drinkcr," that has tragic
possibilities.
In the second gallery BENJAMIN ID,
Kopman, Kenneth Hayes-Miller and ].
Mortimer Block are exposing. Mr..
Kopman is best in his small pictures,
which he invests with rich color His
"Coatmaker" has something Of the
quality of n religious work. When he
expands his anvas and paints In the
large Mr.. kopman becomes vacant and
uninteresting.
ing through a hazy, inarticulate stage,
but II of his ~canvases. the River
has much of his old poetry in II.
Mr., Block essays imaginative work,
which IL fine of him, but he IL az yet
rather uncertain OF the way. Some OF
the landscape parts have quality, but
they are marrcd by the awkward fig
ures,
The sun., 1916-12-03

me monthly magazines as the patrons
who are TO hand 1t to them, Mr..
8enda's dancers will appeal. They
IRE examples of the sorts Of thing that
%. the sorts Of thing that editors
ehink people like. To students of So
gDety they may have the same sort
- interest and for the same reason.
To the others, however. who in their
contacts with art are continually hop
ing for n little-just a ~little-style. the
exhibition is a sad one. 1t forces one
- consider present day standards Of
illustration. a subject the tactful try
- avoid. II our illustrators were
upon ever so slight an upgrade. grad
TALLY improving upon past perform
onces. 1t would be an easy and well
como task to spur them on to nobler
Efforts. but when the reverse Is true
and tho distillation from the muses.
gets more and more thin, and the
great mute public becomes more and
more apathetiC, there is only my
oelf to voice a fretful complaint. !
I'LL you it is hard.
It Is hard for one thing to be un-
Kind to Mr.. Benda, who after all is
10 worse than the average run Of
illustrators. indeed he is probably
obove the average. He, however. at
)his moment OF our evaporation. pro-
S5des the topic for the sermon.
His art. and that Of forty or fifty
{ his confreres who might be named,
. essentially second hand. 1t Is sec
Oud hand in training and second hand
IN ideal. The young men and women
who approach illustration as a trade
II present. approach 1t very differ
entity from those who succeeded a
nsneration ago. and who made the
American illustration a thing to be
admired and the American magazine a
habit for those artistically inclined.
Chere is probably not a magazine edl-
Cor in the land who would pretend
The sun., 1916-12-03
James Montgomery Flagg
as a Portrait Painter

James Montgomery Flagg's exhibit
ton OF paintings in the Reinhardt
Galleries touches one corner Of the
same argument. Mr.. Flagg has been
following Mr.. Gibson into the realm
OF p~ortraiture. and not with any more
success Both these successful illus
traitors left painting until too late in
life. They have tried to reverse the
natural order Of training mentioned
IN the previous article, but too much
work in black and white leaves its
trail upon their palcttes, az 1t did upon
those Of Irving Wiles and w. T. Smed-
ley before them.
Mr.. Flagg's new'portraits are large.
snowy and even vehement. but they
are not paintings. Although the artist
uses carmines, and yellows and blues
and greens. still the result In, practi-
cally, a black and white, Mr.. Flagg
now has even less than the normal
ability to see color. so h%abituated have
his eyes become to the incessant blacks
with which he earns his living. and he
also Is wofully lacking in sense Of
form. These two are his drawbacks,
and they are great ones 1t is all the
more a pity because a natural and
irrepressible vivac!ty shines through
his work. and II he had started out as
a painter in the first instance he
might have touched the high places.
This vivacity has been one Of Mr..
Flagg's strongest assets as an Illus
traitor, but in the paintings 1t proves
his uNldoing. There Is not enough
knowledge of form to back 1t up. In
the wash drawings for reproduction a
certain trick of touch lends itself
readily enough to the half-tone proc
esses. but IL the drawing be consid-
cred separately upon its own merits
1t falls down. 1t will not meet the
test of comparison with serious paint
ings. Take the drawing OF the Horse
Guard at Whitehall in the present en-
h!bition. The washes are crisp, and
doubtless the picture was considered
acceptable enough when reproduced.
but in the actual drawing all the
washes are crisp in the same wa.,
and the textures are 80 neglected that
the sombre heavy Stones of Whitehall
actually have the consistency OF but
ter.
The same monotony OF touch when
carried into painting becomes un-
bearable. In the portrait of Mrs.
Henry Blossom the carmines upon the
lips and IN and around the eyeballs
are put on absolutely without rela-
,ionship to form. Fancy a musician
striking false notes There are sue
cessions of false notes all over Mr..
Flagg's portraits.
The men who sat to Mr.. Flagg
are Irwin S. Cobb. Booth Harrington
and Arthur William Brown. Mr.. Cobb
faring the worst OF the three. Mr..
Cobb is a humorist. and doubtless when
posing good naturedly a V the artist
permission 10 go the limit. for at any
The sun., 1916-12-03
EWS N IN H WORLD OF ART

that any Of the present artists that he
employs comes up to the standard OF
c. s. Reinhardt and Edwin A. Abbey.
or the younger Joseph Pencil. Of
those days. He says. in his defence.
that the public taste has gone of and
that 1t no longer pays to employ Rein
hardts and Abbeys. That Is pure rot
Of course. There are plenty Of In
telligent people yet who would like to
enthuse over the monthly installment
OF black and whites II they could. The
trouble IL, on the contrary, that our
editors have gone of. They no longer
recognize the live spirits among the
artist candidates that appear before
them. invariably choosing the
draughtsmen who most resemble m
body else.
The earlier illustrators were trained
as painters first and became illustra-
tors afterward. That Is the secret OF
the whole matter.
Think Of what 1t means seriously to
train as a painter! 1t means that
The sun., 1916-12-03

margin, and the frame must not be
wider than n inch.
Design should be sent to the Friends
of the Young Artists, 222 Central Park
South, not later than December 2s
1916.
Recently upon tho occasion Of the
SEVENTEEN birthday Of Thomas e.
Kirby, president Of the American Art
Association, +. X. kaldenberg sent
him an ivory gavel. and with 1t the
following letter:
DEAR Mr.. KIRBY: For q long time
I have been waiting for some occasion
on which I could show you my appre-
citation Of your genius in your profess
sion, and ut last the hour has come.
and I congratulate you with all my
heart on the attainment Of your seven
,ieth year.
I'm your profession II Is very neces-
sary to have good and efficient tools.
and l thought nothing would please
you more than to have a strong ham,
mcr with which to nail down your
convictions. and I hope you will WELD
II for many years to come n that
you will use 1t vehemently in driving
into your many admirers your own en-
thusiasm. Nothing will accomplish
The sun., 1916-12-03

rate Mr.. Flagg wen there. The result
is "A heavy bu~rlesque.
Near by the Reinhardt Gallery in the
rooms of Hahlo & Company there is
a portrait of Ernest Renan by Zorn,
and l earnestly trust that Mr.. Flagg
will find time to drop in there, since it
Is sc conveniently near. when he comes
visiting his own show. From Mr.. Cobb
to Ernest Renan is perhaps a far cry.
but both have this in common. that
neither ever We're raving beauties; and
the Zorn portrait indicates perfectly
the manne in which to portray gen.
tlemen whose strong points are char
acter and soul rather than grace.
The sun., 1916-12-03

tne cNnlblt.oN mas Dc"n EXTENDED 10
December Is,
The annual meeting and luncheon
Of the School Art League will he held
at the Waldorf-.Astoria on Saturday.
December .. II. w. Watrous, secre-
tary of the National Academy Of De-
sign. will preside and there will he adj
dresses by Charles Dana Gibson,
George McAneny and the Rev. W.
Warren Giles. Besides the more
formal addresses an interesting feature
Of the programme will he a number
OF three minute talks by pupils and
teachers from the city elementary and
high schools who have been helped
10y the School Art League.
The pa%tronesscs Of the luncheon in
clude Mrs. Charles Il. Alexander. Mrs.
Helen Foster Barnett, Mss Cecilia
BeauN, Mrs. George Blumcnthal. Mrs,
Nicholas Murray Butler. Mrs. Walter
IL. Crittcnden. Miss Lydia Field En-
met, Mrs. Robert W. de Forest. Mrs
Charles Dana Gibson. Mrs. William II
Fox. Mrs. A. A. lIealy, Mrs. Ben Al
liaggin. Mrs, Harold q. Henderson
NiIS' II Ia iiAliAAllS Noh, - Nitl'uS
NJ. Marks, Mrs. Henry Fairfield Os-
born, Mrs. Edward Robinson, Mrs
Henry Willard. Mrs, Harry Payne
Whitney, Mrs. Payne Whitney,
Mrs. John w. Alexander is honorary
chairman of the committee of host
esscs and Miss Ethel II. Averell. chair
man. Among the hostesses are Miss
Jessie ii. Bingham, Miss Susan +
Bissell. Mrs. $. 7. r., Cheney, Miss
Mary r. Davis, Mrs. William Farley
Mrs. T.. &. Henderson, Miss Anna Max
well Jones, Miss Della L. Mussey. Miss
Florence A. Newcomb, Mrs. Laurent
Oppcnheim, Mrs. Walter Scott Perry
Mrs. lGustave Straubenmullcr. Mrs
ii. W. Watrous.
The officers are DIR. James =. Haney
chairman of the board Of managers
Otto II. Kahn, treasurer, and Miss
Florence n. Levy, secretary.
The mere fact that a student says 70
himself Il too can confront life as
sternly as Michelangelo and | too car
wrest some Of LIES secrets" will x,
a long way toward s%upcrscding the
all too prevalent temptation to sa,
II will draw Just like Jimmy Flagg
and | too will get thousands n year
and have a motor car"
The Society of the Friends OF Young
Artists the subject for tn,
competition open to decorators, as
chosen by Mrs. Harry Payne Whitney
II is; "a decorative and appropriate
The following are the stipulat!ons
The decoration may he Of any stylt
or any seal" the artist may choose.
The drawing must not exceed Is h,
80 inches.
The design must he presented on q
mat not exceeding three inches Of
The sun., 1916-12-03
Money Profit in Art
for ShreWd Investors

lie Cousin POns. the new little art
journal of Paris, deplored In one OF
It's recent numbers the unlikelihood
that many of those who have been
made rich by the war will join the
ranks OF the collectors Of art.
"All these pOcketbooks that have
been so suddenly stuffed" cries Cousin
POns. "by that fortune that is COM
monty represented with her eyes
The sun., 1916-12-03
Randall Davey's
Recent Work

Randall Davey's recent work is now
view in the Macbeth Galleries. but
It presents no new subject for discus
sion. What was said Of Mr.. Davey's
last years exhibition might be said
for this. even TO repeating that his
best picture is again OF a little girl.
This time II is "Bcllbina." an elish lit
tie creature with a tangled mass OF
black hair the texture of which would
have interested most artists but which
The sun., 1916-12-03
Galleries.

is the fact that the French buyers. for
sad and tragic reasons. are rare
II IN true that tho problem Of those
in America whose duty it is to induce
u new noblesse into the mysteries OF
artistic connoisseurship is vastly more
simple than Will be the task Of Cousin
Pons in France.
We have here our established COL
%lectors, like Mr.. Freer. Mr., Prick. Mr..
Peters. Mr.. Widcner. who continually
point the moral. II Is an enormous
help.