New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-02-23
Ancient WeaveS of Moore
and MumfOrd Collection
Up for Action.
MACBETH EXHIBITS
THIRTY PAINTINGS
Josef kratina's Sculpture Studies
of Children at National So.
ciety of Craftsmen.

F collection OF so-callcd Colonial art
is TO be sold on Friday and Saturday
afternoons. IL consists Of almost every
variety Of bric-a-brac which could be
Imagined as filling the houses of New
England from 1850 TO 1S40, and several
things, such as modern Italian bronze
copy of n winged Victory. which the
widest imagination could hardly place
in that period. On the whole. the
things are good, consisting of the usual
copper and silver lustres. Staffordshire
statuettes, pewter utensils, glass, etc.
There is quite large number Of
hooked rugs. many of undoubtcd an
tiquity, and several Of unusually effec-
tive design. There is nothing much
which one can thrill over, but the OBJ
jects would make pleasant companions.
IL Is quite another story with the
collection of Chinese art, the property
of Frederick Moore and John Kimberly
Mumford, the well known authority on
rugs. These objects are to be sold at
auction on the afternoons Of Thurs
day, Friday and Saturday. March ,. 3
and 4. For the most part they consist
Of Chinese rugs Of ancient periods, and
II is safe to say. that it is the most
important collection Of these wesves
ever put on sale in New York. The
I tNtNb VI lllt IholUS III NUiNU lnty hlt
shown Is sumptuOus. One may with
ease spend hours in them, absorbing
beauty of design and coloring. There
are wonderful unusual shades Of reds
and yellows and blues and grays. The
rugs come from all the rug making
provinces of the Celestial Empire. and
vary greatly in design, but through all
Of them runs a similar, fascinating
symbolism.
As is more or less we'll known, de-
sign in China means everything. and
there is meaning for every design.
Some of the early Ming pieces have an
extraordinary simplicity and strength.
Their very coarseness gives them a
peculiar charm. As the date of their
origin becomes later, the designs be-
come more sophisticated They retain
all Of their beauty, but exchange naive
strength for accomplished grace. The
Chinese do not use many fast color
dyes in their rugs. and a large part Of
their attractiveness lies in their lovely
faded tones.
A remarkable temple rug. which
comes, from all indications. from the
border of Tibet, is very beautiful in
the faded color Of its ground, the
strength of its dragon design and its
unusually fine texture. A rug with
count OF the color of its background
This is almost tomato red. tone
seen often in velvets and other silk
/ textiles, but very unusual in rugs.
superb carpet with a bold Foo Dog pat
tern is so brilliant in color that it Is
hard to believe il TO be of its actual
great age. Four small rugs together
in case in one Of the rooms repre-
sent practically the high-water mark
of Chinese rug weaving. They are of
glorious beauty. their texture truly re.
markabe. 1t is a marvel how, with
their narrow range Of colors, the weav-
ers have managed TO produce the rich
effect which is so noticeable in the
blue and white rugs. The observer
should study them closely.
In the last room are many early Ming
pieces and number which have origi-
nally had a background of Imperial
Yellow. Perhaps the most noteworthy
specimen is the large Ming carpet on
the right hand wall, piece OF the best
possible quality. Some of the temple
hangings made to wrap about columns
are of great interest and beauty. They
are important examples. Together with
the rugs IRE several pieces OF en-
broidery and statuary. There are
number of bronzes and porcelains ana
D
feather jewelry.
Thirty paintings by thirty artists are
the present Offering at the Macbeth
gallery. They make, on the whole, a
creditable show. The still life by Emil
Carlson is a typical one, with the vari-
Gus textures well represented. "Noank
Landscape" by Henry w. Ranger, is
fine in feeling and beautiful in color.
The dark limbs Of the oaks produce an
interesting pattern. Daniel CARRIERS
Ozark Waters" is the most decorative
picture in the gallery. 1t is Joy as
10 color and has rather unusual com
position Arthur b. Davies's contribu-
ton. "Castalias," is a dream landscape
in his non-cubistic manner. but not so
happy in its effect as are many OF ms
works "The Hill Top" by Chauncey
F. RYDER. is n good painting, but errs
on the side of prettiness. Hermann
Dudley Murphy's "The Beach" is
strongly simple in both color and COM
position and translates the magic OF
the seashore in true and alluring
terms. December Sunlight by
Charles II. Davis, is broadly treated
Landscape wherein the ground Is OF
more Importance than in most, for he
is apt 10 place his emphasis upon the
skv. Charles W. Hawthorne shows
"Tbe Open Window" brilliant in color
and sunlight. but lacking in the visit
full appeal that he so well knows how
10 nut into his canvases. PIN OAKS,
Lester Boronda's contribution, IS tell
inglv done in planes. Gardner Symons's
"A Mountain Streamlet' is an excep-
tionally satisfactory snow scene, superb
in its values and good in design: Re
Fiction" by Richard Miller, is in his
usual manner. but appears to have
been thought out with special care.
Sculptured studies Of children by
Josef NJ Kratina are being shown at
the rooms Of the National Society OF
Craftsmen. They are appealing in their
delicacy. No one Of them stands out
particularly from the group; all are
OF the same level Of excellence. The
artist is sympathetic to his young sit
ters and manages to put into his plas-
ter q great deal of the charm Of child
hood.
Monotypes are the objects Of inter
est at the Goupil gallery. II is a
Measure to see such delightful ex-
amples Of this rather rare technique.
The present pictures are the work of
David W. Humphrey. $. Hardness Nc
Crea. Harry Knox Smith and Gustave
Verbeek. The work Of each artist is
absolutely distinct. Mr.. Humphreys
has great delicacy and charm OF color
and design. The general effect OF
some of them is that Of an Arthur
Rsckham illustration. The graceful
ii za;,.,. G,,u-es never obtrud hut