davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-22

Johnson, Elkins and Widener collec-
tions. The Johnson pictures would gain
a lot if they were displayed according
to modern ideas in a spacious structure.
But they would lose something, too.
They would lose the charm that the
owner gave to them through the purely
personal mode of hanging which he fol-
lowed. He explained to me why he had
placcd a portrait of a woman by Jan
van Ravesteyp and a "Salome," by
Henri Martin, side by side. Each" he
said, contributes to my appreciation
of the other" He hadn't obtained
either Of them to serve as an exhibit in
a scientifically ordered museum. He
had got them both to live with. The
portrait by Ingres which hung in his
bedroom was not there for any reason
in the world save that he liked TO look
at it,
Recalling that portrait, we recall also
an episode of the first of several en-
chanted visits to his house. II was a
tremendous cosmos to explore. 1t
seemed TO hold everything. But no,
there was one master apparently I'M
represented, Ingres. Mr.. Johnson
smiled. I'll show you three examples
Of him after lunch" he said, and he did,
one of them the portrait in the bed
room, full dress portrait by the
Frenchman at his best. That was like
Mr.. Johnson. He collected, indeed,
everything everything that was good.
Manet and Degas, Sargent and Whistler
the Barbizon men and the Impression
lists. all manner Of moderns share the
walls with all manner of Renaissance
types. And among the latter the col
lection Is as varied. II ranges from An
tonello dc Messina, Botticelli, Correggio'
10 almost any master one might cite
from the Spanish or Northern schools.
But il is for its Italians, and particu-
larly for its Primitives and its masters
of the golden age in the South, that the
Johnson collection is remarkable. 1t Is
for that mine of beauty and historical
data that our supposititious European
museum director would make the dash
which we attributed TO him at the out
set. Wandering abroad summer after
summer, ransacking the shops years
ago, before the modern millionaire
picture buyer had been invented and
in after times-leaner in such oppor-
unities-keeping up relations with the
dealers who knew his tastes and ways
this shrewd, sensitive and perennlally
enthusiastic amateur stayed steadily on
the track OF the merely beautiful WORK
of art. He let the sensational museum
picture go. And now his scores upon
scores of masterpieces make a museum
by themselves.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-22

knew the literature Of these things, and
here one of his strongest qualities
came to the surface. He respected we'll
informed criticism. lie had the fullest
appreciation, for example, Of the sclen-
tifc school founded by the late Giovanni
Morelli, and when he undertook the
preparation Of catalogue of his col
lection he put the work in the hands
of scholars. The three stately volumes
In which he printed the book make in a
very special sense monument 10 the
liberality Of his ideas. He left Mr..
Berenson, who described the Italian
paintings, and DR.. Valentiner, who
looked after the rest, the completest
freedom. They were to settle all prob
lens Of attribution-and the collection
is rich in these according TO their
judgment. But the shifting of this
name or that in the list, the correction
of labels to which in some cases he had
been long accustomed, never affected in
the slightest degree his enjoyment of
the picture in question. 1t remained
for him just a work Of beauty. His in
dependence as a connoisseur remained
untouched. There was no obstinacy
about him. lie simply objected to TAX
ing any oracle too seriously, fact
which would sometimes crop out very
quantity in his conversation. lie know
all the wise men, Bode and the rest,
and with perfect modesty would profit
by their teaching. On the other hand,
when they grew too pontifical and es-
pecially on esoteric points of attribu-
ton Of no great consequence anyway,
he would permit himself a twinkle in
his eye and a sidelong, humorous look
more effective than an hour of argu-
ment.
His scorn of convention, of dogma, in
these matters came out in the amazing
arrangement of his pictures. 1t was
amazing, to begin with, through no
fault of his own. The house on South
Broad Street in which he lived for
years was much too small for his be-
longings, and when he moved next door
he was hardly better off for space. The
last time we saw the collection it
seemed only little less crowded than
before. Pictures still turned up any
where, on door or on pillar, wherever
they would go. They are to stay in
theiy present quarters, according to the
will as reported in the papers, and it
seems a pity. Philadelphia should have
contrived somehow to realize the old
scheme for a great gallery housing the
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-22

lection is so finely conspicuous at the
Metropolitan, was another. Neverthe-
less, we must say of Mr.. Johnson what
we were saying of his pictures just now
he fills a place apart in our annals.
1t was characteristic of him, too,
that he conquered his place as a col
lector without the principal aid of
which others in the field have made so
much. He was a millionaire, to be sure,
yet there is nothing in his gallery to
hint at that brute power of the purse"
which has had such weight in the pict-
ure market for the last ten or fifteen
years. Nowadays, when some priceless
masterpiece in Great Britain or on the
Continent is condemned by fate TO have
price set upon it, the dealer or syn
dicate "going after it" has the ulti-
mate purchaser virtually picked out be-
fore the first negotiations are launched.
The few men who are prepared to pay
hundreds of thousands for a single
canvas are known. The prize is bought
for their competition, If not for one
member of the group. But no spectacu-
lar transaction of this sort was ever
engineered with Mr.. Johnson for its
object. He did not belong in that gal
lev. He told me once of remark made
to him by the late Benjamin Altman,
whose memorable gift to the Metropoli-
tan shows his prediction for the
star" picture. "Of course | know" "
said the asthetically minded merchant,
that they will ask me an unreasonable
sum for this picture. But l suppose
I'll pay. I've got 70 have IT," Mr..
Johnson thought he was right II you
were collecting prodigious rarities
there was nothing TO do but pay fol-
them. Only, for his part, he was will
ing TO confne himself to the rarity
without asking it to be prodigious, and
he would not even insist upon its being
excessively rare. II it was bit OF
painted loneliness he would be content.
The intellectual force to which refer
ence has been made played a very prae-
teal part in his development as a con-
noisseur. Beginning his adventures
among pictures full thirty or forty
years ago, and starting with an
instinct for art, he polished his
faculty for it by reading and
travel. He had the Continental
trait of the collector, liking to show
his possessions to a friend and to talk
them over at the table. When he did
so Il was interesting 70 watch the play
Of his knowledge and his memory. He
knew the very position on the wall OF
every picture in the public galleries OF
Europe, and his acquaintance with pm
! vate collections was very nearly a'
wide sad sItesstAss as exact Aiso' ne
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-22

Portraiture has been abundantN
illustrated in the galleries this season
so abundantly as to afford toleraoiy
comprehensive view of the subject
From John Sargent TO George Luks Is
rot a tremendous technical span, but
excessively these men lead US from
the objective to the subjective attack
upon the sitter. Either one may be de-
scribed as a pure painter. But purity
Of painting occurs rarely in this do
main. The portrait painter before his
lob is confronted by need for like
ness through which some types are
forced to sacrifice other qualities. The
tendency with Mr.. Luks is to sacrifice
the sitter to the picture; he may be a
better painter than portrait painter
There is more assurance in the craft OF
Sargent. He rarely misses his likeness
and he usually satisfies his notion OF
the essentials in work of art. Miss
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-22

Cecilia BeauX, most of whose nineteen
canvases at the Knoedler gallery are
PORTRAITS. is nearer to Mr.. Sargent than
to Mr.. Luks. In detail she may be a
little less elegant than her prototype
and decidedly less forceful, but IN tech
rical resource she is his equal, mas
much as the language upon which she
draws for the clothing of her impress
sions flows quite as she wants 1t to.
Her sitters may rest in confidence upon
her ability to portray them unhampered
by any of those accidents, fortunate or
unfortunate slips of the brush, to which
many other painters cling in fear and
trembling cling because, in the re-
painting, the art quality, which need
not be a portrait quality, may be lost.
To call Miss Beaux a professional
portrait painter does her more credit
than the term usually implies. Most
portrait painters in America, of uncer-
tain accomplishment, belong really in
the amateur class. The frmness Of at
tack in the work in this exhibition Is
admirable. We note it especially in
the portraits of Mr.. Robert W. De
Forest. Dean West and Miss Flora
Whitney. The last, done as a contribu-
ton to the Allies Bazaar, plays with
the national colors rather wisely than
eloquently. Indeed, with the exception
of the full length, of young girl in
purple and white, the canvases do little
to withdraw attention from the sitter
to the color in which he is enveloped.
Miss Beaux's interest is hardly swayed
by the intuitiye distractions leading
other painters to lend something Of
themselves 10 the color Of the reality
To this extent she is the slave Of the
fact and her vision in color is COM
monplace. Yet the history Of the full
length just mentioned shows that she
can be lured by a color scheme. The
background has suffered its third dras-
tic changel The canvas is the richer
for its mutations, and it is the single
one here in which the color is at
tractive. We say this while recalling
the play Of light on the roofs of the
"Foggy Morning" and the reserved
tones and peaceful arrangement Of the
"Stony Pasture" the only landscapes
by this painter which We have happened
&C see.
Upstairs at the Knoedler gallery are
shown eleven early paintings by the
late William VI. Chase, four by his
pupil, Miss Lang. and a couple of pict-
ures by Childe Hassam and Elliott
Daingerfeld. The Chases represent
him in his hsppiest vein. II is anus
ing to find one of them, the Hugo,
Freihcrr Won ALDERMAN" a portrait
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-22

inc and sculpture. But we must not
attempt within the limits of brief
newspaper article to compose the study
which. as we have said, deserves book.
The only purpose Of these sketchy re-
marks is to indicate the conditions sur
rounding Mr.. Johnson throughout his
career as a collector And having
done this, our first duty is to explain
how he rose superior to their influence.
He did it by going back to the old
principle to which we have alluded. the
principle Of buying a picture because
you like it. Fashion left him cold. 1t
never crossed his mind to add paint
ing TO his gallery because 1t might
prove a good investment. All be cared
about WAS the pleasure work Of art
might give him. The god ~sr. LID
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-22

ginian," the portrait Of an American
type such as Remington and his Tx
have loved to commemorate. Mr. Rum
sey's Interpretation goes to the root OF
the matter; his old horseman is por-
trayed not only with skill, but with
feeling, and no sacrifice is made TO
pictorial effect.
That is the sculptor's leading virtue
his sincerity, his directness. His
modelling approximates more and more
to an ideal of simplicity which vaguely
recalls BourdtlIe. Inspiriting, too,
is the air of experimentation
pervading the show, chiefly TO
be identified with the works IN
polychromatic cement. One can
imagine Mr.. Rumsey's conception OF
the nude as by and by embracing a
finer feeling for sheer beauty, but in
the mean time there is no denying the
yitality with which his reliefs are en-
dued. Though he has not yet beaten
cut a style, he is on the way to that
achievement.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-22
Gotham GleaningS

't'John McGraw is back in town
'*tCharley Towne has quit smoking
+taIooks ike rainy spell was coming.
sttOute little of the Ia grippe is still around town
tNate Salisbury pleasant caller Thurs, taking us
st to lunch.
Celett Burgess was pleasant caller Friday taking us
out to lunch
't'Mrs Sig Spaeth has got back from Palm Beach and
shocking elegantly.
st'Nliss Neysa NlcMen of here and Quincy ILL.,, was
over to Ieonia, y. J., Friday.
'''Deems Taylor with ugly overcoat and ditto
pats, was pleasant caller Friday
''tThursday was a lovely afternoon here and here
,bouts and everyone took advantage OF same
'''Herm Hagedorn got back from Washington Wed
rsg Hem is deyotng all his time these days to working
irthe Vigiantcs. Good work Herm say we
'''Marorie Cookies new book, cinderella lane, has
Just come in. We remember when Marjorie used to walk
the T. Of C. campus her way to Inghams, and here
she is writing a book.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-22
A Lover of Art for Its Own Sake
service

As we have often stated in these col
umns, a peculiarly instructive little
book is waiting to be written, IN the
shape of a history of American taste
Where paintings are concerned it will
have a good deal to say about fashion,
We have always had public for works
of art. We had one in the eighteenth
century. But in our own time, far
more than in that earlier epoch, it has
been pretty rigidly ruled by convention
and the dealer. Our happiest state,
from, certain point Of view, was that
in which our school, as a school, did
not amount to much. The painters who
fourished here just before and after
the Civil War were not, on the whole,
masters. But at least the idealism, the
sincerity, which marked their work was
shared by their patrons. People IN
those days had delightful way of buy
ing pictures because they liked them,
great virtue in the art of collecting
Then the dealers began to get control
Of the field.
They worked some Improvements.
Little by little they managed to substi-
tute the costume piece and the anec-
dote of the Paris Salon for the prosy
commentaries Of Dusseldorf, and that
meant at least the promotion of taste
for better kind of workmanship. But
il was not until dealers like the late
Samuel P Avery and the late Daniel
Cottier established the vogue Of the
Barbizon school in this country that we
developed the foundations Of something
like connoisseurship. Their ministra-
lions were invaluable. Some collectors,
it is true, lost the old habit of their
predecessors. They became afraid to
buy what they liked Too many Of
them, we fear, bought on the principle
of making good investments. Luck, at
any rate, was now with us. The good
investments happened to be good pict-
lures. The Barbizon tradition, for ex-
ample, was made absolutely secure
Consider the recent dispersal of the
Watson collection. That gave evidence
enough that Corot and his colleagues
have made their permanent impression
on this side of the water And ap-
probation Of them by the public at
large is surely about as unquestionable
factor in the situation to-day as any
that could be named.
As regards the old masters we have
not learned so much; nor has the les
son been so thoroughly difused. The
craze for eighteenth century "decora-
tive" portraits, Of French or English
origin, is probably traceable as much
to the exigencies Of fashionable house
building as TO any growth of real feel
ing for the art Of portrature in its
historic periods. There has been, too,
in the exploitation of all the ancient
schools a palpable element of Barnum-
ism. Far more significant Of genuine
progress has been the enormously in
creased popularity of American paint
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-22
SONG: THE KEEPSAKE"

soldier boy lay dying the battlefield at eve,
While from him, all his comrades they had flew;
lis honest blood coursng from empty hanging sleeve
And tears were standing in his eyes of blue
Arcross him. and she knelt upon her Knee
ht@derly she wiped his gore away
What to be the matter lad? she asked him tendery
hd TO her then these sad words he did say:
Against my heart there hangs talsman by heck,
Asaltd one like others that we knew;
lis my mothers ironngholder that she hung about my neck
's send 1t back and tell her was true
h nurse was full Of pity as she saw his dying face,
ao an idea came into her brain
@ took the square Of gngham and she bound to the place
We're the bullet went in, and out again.
h Blood stopped the hero lived and now he smiles Win Joy
PUNK Of how he nearly died that day.
~ keepsake that his mother gave it saved her darling boy,
loren now those old words he'll resay:
CHORUS
Nans my heart, etc"
As % the U-bOas that are to destroy is reminded OF
hHh DObsons
They must reach us before they rack US
And where are the GALLONS of Spain?
To the Society Woman Who Is Always Photo
graphed In Golfng Costume Posing
for the Drive
leant resist the chance TO rhapsodical
What time you spread across the page
The luscious content Of that periodical
On Art and Sport, the Suburbs and the Stage
Your picture doubtless registers your passionate
Affection for the pastme Of the links
an action photograph with lots OF dash IN IT,
The product Of a skilled engravers INKS
dow gracefully you pose before the camera
In sporting costume ready for the fray
10 captivate to win Or enamor a
Mere reader who knows not how bad your pay
VI Golferess and idol Of Society!
see you hold your dover like bat
Ano wonder, though it be an Improperly,
Hoo did you ever tloist yourself ike that!
FREcKLEs
~, aeay all Of taking the excellent aoVico " ~
- ns Administration.
4 ~ we're and there a newspaper so-called c1en
-"' u with slapsick
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-22

War-sick all against will;
Twenty months hence will be
Twenty war-sicl nations still
z.;on Of Alpine travel lands" says The Particular,
- things Person. in "The Evening Post "is so strong
so almost feels cool breath of the Jungfrau She
esI RUNNING the melody Of Solveg song" Say, writes
v cass ght if it had Of been Norwegian restaurant,
o. .Onld Of gone away yOdelng like the dickens
,oovoXEp BY LOVE vAUNTETH NOT ITSELF"
v.ET.K,
100 with you in part
Ia , tbats strong and deep and vital
80 need much speech to prove it's there.
ssaneeds some
:. ,vav last month for little vacation,
hi,tTs was gone my favorite beau wrote letter
49, .,be was studying shorthand.
- = college he thought it would be help in lectures
furthermore, he said
- r. t.rov could use It say bold things,
49, ,bst might starte in regular writing.
- rirht there he wasn't afraid to say
ms 5 ,n he wrote q love yOu Elizabeth" in key Pman.
h5Nl not to know what he meant
lisOugh a stenographer'
"A use the key Pitman system
Ind ignored IT,
- thought he would follow it up
al wanted him to come out strong with it,
here couldn't possibly be any mistake
o. never did.
S-IS At least two letters from him since then,
have seen him maybe times under slightly romantic cir
crnstances
~ h. never said that again.
eft K was It a horrd joke
O;4 that in seeming love less he loves more?
IrkyOu ~
Esrxropped at "Peter Ibbeson": "Wen, it'll he good
e We're TOO extravaganza anyway I'm going to cut down.
- nv doctor saws ought Anyway, think If we cut
- J, the table we can buy of those bonds
". see be tn pa-aper-the Goversvie Leader-Repubican-
re. M and Mrs E. Durkee arrived home yesterday They
~ M Frdsy says the LR "and came back by water Omit
s for novelty presumably, the conventional air route
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-22

They lowered him with fair for the
beautiful picture, old or new, and as he
was also blessed with a powerful intel
lect, he found his way about in the
world of art with extraordinary ease.
We have had other connoisseurs of his
type. The late James Jackson Jarves,
whose early Italian pictures are the ar
tistic glory Of Yale, was one of them.
The late Henry Marquand, whose col
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-22
The Coming Tower
&C WE OBSERVED IN NOVEMBER, 1914

Twenty war-sick nations we,
War-sick all against our will;
Twenty months hence we will be
Twenty war-sick nations still.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-22

an. illusion Of Alpine travel lands" say
NO things, Person. in "The Evening Pc
soo. almost feels the cool breath of the Jung
ns' 80 80 bumming the melody Of Solveig's sor
Fea, ,s.-. Glass. might if it had Of been NorN
"a .-la Of gone away yOdeling like the dickens
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-22

y mere and there newspaper sO-caed euIen s'"'
: ~''a II with slspstick T.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-22

.y all Of us are taking the excellent advice 70 S'Sno
- ns Administration.
The Ely miner. [volume] (Ely, Minn.) 1895-1986, 1917-07-13
Order to Examine Final Ac-
count, Etc.
tate of Minnesota,
ounty of st. Louis. In Probate Court.

In the Matter of the Estate of Matt Maravetz.
sometimes spelled Moravitz. Decedent.
The Petition of Anna Moravitz as repre-
sentative of the above named decedent, to-
gether with her final account of administration of
said estate having been filed in this court repre-
senting, among other things that she has fully
administered said estate, and praying that said
final account of said administration be examined,
adjusted and allowed by the Court and that the
Court make and enter its final decree of distribu-
ton of the residue of the estate of said decedent
to the persons entitled thereto and for the dis
charge of the representative and the sureties on
her bond,
1t is ordered. That said petition be heard.
and said final account examined. adjusted.
and if correct, allowed by the Court at the
Probate Court Rooms in the Court House in
the City of Duluth. in said County. on Monday.
the 9th day of Aug. 1917. at ten o'clock
a. M, and all persons interested in said
hearing and in said matter are hereby cited and
required at said time and place to show cause.
if any there be, why said petition should not be
granted.
ordered Further That this order be served by
publication in the The Ely Miner according to
law.
Dated at Duluth Mimi, July 7th, 1917.
By the Court.
Attest: S. w. GILPIN,
r. MORTON Judge of Probate.
Clerk of Probate.
lib 7-27 H. Merdink, Atty.
The Ely miner. [volume] (Ely, Minn.) 1895-1986, 1917-07-13
PROCEEDINGS OF THE
SCHOOL BOARD
DISTRICT NO. II.
Ely. Mimi, July 3rd, 1917.

Ely, Mimi, July 3rd, 1917.
Pursuant to notice. special meet
ing of the Board of Education for the
purpose of taking up the matter of
correcting the defects in the Wash
ington building with the contractor,
and transacting such other business
proper to come before stated meet
ing was called to order at two O'Clock
p. ID. by President. w. A. McCurdy.
On roll call the following members
were found to be present: Anderson,
Chinn. Fenske, McCurdy and White.
Absent: Toms.
On motion duly carried, it was
decided that the District allow the
amount of Sll3.35 on the various bills
submitted by the Boyd Construction
Co. for labor and material furnished
during the summer of 1916 on the
Washington building and that the
secretary be instructed to issue orders
on the treasurer for same, as follows:
Edward Maxi, labor -----------S733 80
Boyd Construction Co., Metal
latn----- ----------- Au.Uu
Grant McMahan, lumber -------- 1000
All members voting aye.
On motion duly carried, the super
intendent's recommendation to re-
engage Miss Adeline Frommelt as
school nurse for the ensuing year of
ten and one half months at salary
of 100000 was approved and the
proper officers were authorized to
enter into contract with her. All
members voting aye.
On motion duly carried, the Board
adjourned
L. J. WHITE,
Secretary.