davidaulloa/AmericanStories huggingface dataset:
Decorah-posten og ved arnen., 1922-04-14

Grtt &eaierinsslanb.-Y Dffi'
y ciele 112 Sioers Bog "9acant gop.
erument eanb" auisrer o9 beifriper butr
aere / bpert Norenebe Staters Gountp iors
teller on Selis9enbeb, bpor at benpsnbs ig.
bporlebes erbolbes frit. Diagram for 1922
o9 Sabeler, npe 9ope, Glitter o. I. .. Iris
80 @ents portobetalt. @ebb Gubliibir9 80,
Dept. 40, ct. Saul, Winu.
Decorah-posten og ved arnen., 1922-04-14
"Sicmntct paa YrGrien",

"Sicmntet paa YrGrien". ser berct.
rcr nor'ontt % Iipliet ON Sonas Oh
lens isrite Iar / HpbD99et paa Yrrs
rien / Winreipta, iorclieger / Bog
firm, 800 Cher. Rris $1.25. she
a%nunbicn YubIiibins 60. Secorab So.
Decorah-posten og ved arnen., 1922-04-14

Eftcripprgiel.- nDoen al
" "Oecorabzf oiten"s Qeiere siue mig
Splpsning ON min Srooer Ole Flat? hcrts
ban ifIlbe pGre / Edmonton, 9anaba, Tor 5
glar then. ON nosen Splpsninssr fan ss
pes per laa mil at ifripe til Sacob $. Berg,
Sofiluub, H. Oats
Decorah-posten og ved arnen., 1922-04-14

M9entcr gnifes til at lelee lib.
y parer oirefte iii T%orbrussrs. Sarsrue
beitaar at llnoertsi. Strsmper, ifiubiursos
Bette, Wadinurps, Slanfets o. |. D. ,Suqen
@rfaring nebpenbie. Sor narmsre timber.
refining ~tilifrip She Reb &iper @ooIeu
Wius Co., SereuS Sals, Minn.
Decorah-posten og ved arnen., 1922-04-14

E,moel uooalste Stgtter 9anb
" biuis tilialss | norbliss Mtnueioto,
Stasca os SeItrami Gountper, norite Setl,.
ntenter. Wtaa iGlses for at ~aiilutte IN
Gsenter snifes. Sfrip til &ep. Sobn @iI.
mann Gitats, care OF 9. 3. 9eterion, 1901
9th gpe. Co., Winneapolis, Winn.
Decorah-posten og ved arnen., 1922-04-14

Sporfur leie naar ou fan eie ct Sicm?
On Tan fisbe Ell ppbprfet Sarm nteo
Slem her til $4,000 a $4,000 pr. gcrc.
Stint Sano. @obt HaboIae. SortrtnIiec
Sielpemioler nteo Sfole % &irfe. Sdt
ct Siem paa lctte Silfanr. Silifrio 8. Z.
Sblarb, @iloip Gitb, 81. Sal.
Decorah-posten og ved arnen., 1922-04-14

80 Icres 2anb tilialasi 8aibburn
- @ountp, @isconiin, 2 Gil I'll Sp o9
Standardization. % Ncres o%pOprtet; ltost
Sus os Sobt 0dro. Sor nGrrnsre uroer'
refining ifrip til Gieren. 9eIs an!tlon,
Garl, @iscouiin. ut. 1.
Decorah-posten og ved arnen., 1922-04-14

OIgcnter pnItes til at ieloe bore
ulbparer birefte. Grfaring unpbuer.
big. Gilt BIZ trenser er ambition. Bort
1929 Eager ct bet bebitc ri nossnilnbs bar
bapt, og be npe Vriier forbaiie big. Son.
tuners @oolsn Wtils asiotiation, Sspt. D,
Mi%nneapolis, Winn.
Decorah-posten og ved arnen., 1922-04-14

@runo al Seas
bonn, SO. gcres, 3 DtiI fra Sp; sobe
Seie Spsninser. Ran tasss / Seitbbcli,
itrar. Sobn Seuquiit, Rt. 2, Sindtsp,
Minneiota.
Decorah-posten og ved arnen., 1922-04-14

Silial9S.-640 Gcres 2ano oeo
Spring Gate, eensbp, $500 % III
$500 pr. acre. Sfrip til @eor9s SIao,
9eusbp, Minueiota.
Decorah-posten og ved arnen., 1922-04-14

9litu &art, bier ale Ilitomcbilrltcr /
2a1oet, $1.75. Senb cfter fulbit9nNis
9eifripeIie. Oscar Wortenion, Youcb A.
Hocbefter, Ninn.
Decorah-posten og ved arnen., 1922-04-14

/ @iscoriin i
Saipper, Tr,ce, Sapftelb % Hur
Counter - bet fore SpGsauI os Nfeier'iTeS
| Staten - til Yriier bu bar raao at oeiale'
Sor aarter os pberlisere Oplpsnirstr lttlV
til Imsrican sSmmi9ration Company, eep'
pe,pa Sails, Wisconitn.
Decorah-posten og ved arnen., 1922-04-14

Grit 8art us 9iite, aoot 2ano II!
y @obtfisb NOR Spillingbperns. SaisF
$50, ct. Groir Sails, gSisconlin.
Decorah-posten og ved arnen., 1922-04-14

Munot Seattle, @alb., bar leg
~ bprfet % noprfet edno. On "a tGn
Ter at fomme bib laa ifrip til mig ON nsiste
SplpSniu9er. Sin ell ,Soe ON bpao Se on
fer. q. 90. Soipale, 2O9 glalfa Sl08'
Seattle, gSaib.
Decorah-posten og ved arnen., 1922-04-14

0jpb oirefte al giere, CRATER a.
~ builfenlombelit Stsrrslfe cn'tst, ~
bebite aisperlanb / be Soreneoe Stater etm
trale norbre Minneiota, nrr SernouMn,
WarfeS, Sfolsr. SeisS eler tl!ltrip !"
Elite. Sarm Dome &c., Steiritp S'0S'
WinneapoliS, Winn.
Decorah-posten og ved arnen., 1922-04-14

eIretntnse cs scnncr bienirre ! NotHr ,tose
gaumarf bill f9tic flor Rris pdd u "a 10
"SecorabsBoiten % Sch IrileH'. WI"
aaret.
Decorah-posten og ved arnen., 1922-04-14

0otn til Wortb 3afota, boor on
~ tan tisbe fine opbprfebe Sarri's ioT soO
til $40 pr. aere, / norif Excitement inso "Vt'
tie airfer, nor Sp. Sebite Sorobuno' y
u. Sohu5ou. ,feirnbal. y. Dat.
Decorah-posten og ved arnen., 1922-04-14

0mmoe npsen aipe mig uross,
~ refining ON en- COB Sp III al oeSpmp'
"Tuleaui;ina Sbop?" Nsls DRsbar'''s''
ITO Dat St., Muffin, Wiun.
Decorah-posten og ved arnen., 1922-04-14

comcipun Rpaez eaer straa'
S tobaf, 8 lsunb $3.50, 10 Vnno SOU
20 Guno $4.0O; at betale ueb Sareno gtog,
taselie. SarmerS ssiociation. SdoAeop'
8entudp.
Decorah-posten og ved arnen., 1922-04-14

ONiScom1m Sarme lapet eltet
~ Seiiuins, 40 susr SO gcres tleT ms"
meo gpsninser. MISUNDERSTANDING, Me0u..,
Der. eiben fontant @etaling, Nslleh W"
30 Mars $snitano. Sfrip sfter elrtr'"'"'
Spuas Sersb, @au Glaire, sSts.
New-York tribune., 1922-10-15
Art in Advertising

The seven organizations cooperating
IN the second annual exhibition at the
Art Center have been prevented, by
the very nature Of things, from achiev-
ing anything like an harmonious en-
semble. Their productions are little
mara than numerous and they are
scattered about on different floors. But
IN the long run one discovers certain
unity running through the things that
ssun.. This diversified, even kaleide-
sesrs young cosmos contains some
work from which it is possible to draw
definite, and delightful, conclusions.
Nu get at it by process Of elimina-
tim. There are some Of the societies
Which have comparatively little Of in
tersst, to say for themselves. The mem
bsfs Of the Art Alliance, for example,
Ihsw paintings which are creditable
though, but do not rise above an ordi-
nary average. The members Of The
Sowaways likewise do no more than
mark time, and in the exhibition of
he Society of Illustrators the designs
u q few clever men are obscured by
he rather conventional performances
" the artists filing most Of the space.
A greater vitality steals into the at
mosphere when we reach the rooms
occupied by the American Institute of
Graphic Arts. Printing is here repre-
sented, and much of it is brought up
New-York tribune., 1922-10-15
Tiepolo as a Draughtsn,an

In an exhibition of prints at the
Keppel gallery the etchings Of Tiepolo,
Canaletto and Piranesi are hung to-
gether. All three men are good to see.
The delicate landscapes Of Canaletto
come charmingly to remind US, as his
drawings do, that the hard linear ten
dcncy of his Venetian paintings was
not the only string to his bow. Pira-
nesi's famous "Carceri" are among the
most fascinating monuments Of etch-
ing. They are mastery in their swift,
unerring line and in their almost Rem
brandtesque play Of light and shade.
They are interesting, too, in their large
dramatic significance. These architec-
sural fantasies, romantic as a story by
Poe, have a scenic grandeur beside
which the proudest efforts Of our mod
crn stage heroes look Fictitious and
tame. Piranesi had glorious sense
Of scale and still more potent sense
of mystery. The "Carceri" have an in-
portant relation to this exhibition. But
it is over Tiepolo that We linger long
est.
As Mr.. Lois Metcalfe remarks in his
preface to the catalogue, everybody
knows the great eighteenth century
venctian's decorative works and hardly
anybody knows his etchings. He speaks
justly of the interest residing in their
subjects, but for the purely aesthetic
student there is 9 deeper attractiyeness
in their technique. It is in curious
contrast to that Of the paintings, Mr..
Metcalfe says Of Tiepolo's plates that
they represent etching in its purest
form" That is true. His line is light
~ and beautifully bitten. But there is
= asurprising discrepancy between II and
Whist we may call, for convenience, his
New-York tribune., 1922-10-15

Along with the originals the reproduc-
tions are nearly always hung. The dual
exposition Of new art thus made is
positively exciting. We can imagine
the disparagement flung at these de-
signs by some impatient commentators.
There are. no Forains among them, we
might be told, no Abbeys, no Howard
Pyles. True, no doubt. But there
are any number of competent
draughtsmen, drawing for reproduc-
ton with a shrewd feeling for COM
position, form and color, spirited in
their attack upon the fancy Of the be-
holder, altogether lively and human in
prefers of what we may call the COM
mercial issues Of the day. And their
taste, if we may return once more to
that everlasting phase of the subject,
is almost invariably good. Prettiness
Of the saccharine order is doubtless
always creeping in. Convention, too,
is prevalent. The husky young collie
gian, the smiling debutante, are terri
bly, overplayed. But If there is con-
vention there is also humor, and every
where there is decorative aptitude.
Yes, in the fight against modernism
advertising will bear watching. And
the spectacle is worth examination for
its own sake. The artist, the adver-
tiser and the printer are working to-
gether in peace and amity, and with a
high ambition. In fertilizing good
business they are making contribu-
ton to artistic progress.
New-York tribune., 1922-10-15

cert player I am glad that everything
happened just as it did.
81 have loved my work before the
camera. And / have loved the, people
/ have met-real workers who love
their work, too. Motion pictures are
criticized adversely a great deal by
persons who, SO far as | can discover,
do not know very much about them.
"We have to work very hard and put
in very full days. We are seldom
satisfied with the results VIC get, but
we are always trying to do, our hest.
And what else can any one expect?
"But il appears plain to me that
am in no position to tell any other
girl a formula for becoming sue
cessful actress in pictures. I have
known girls who have worked very
hard and have suffered many hardships
before they succeeded. And I don't
think they could give any one pre-
scription for success. 1t would be no
more possible for them than it would
be for successful lawyer to do tha
same thing in his profession. There
is no magic recipe for reaching the
top of the ladder in any line of hu-
man endeavor.
II do know this, however" Miss
Chadwick concluded, "that, no young
woman should take any step for enter
ing or advancing in motion pictures
that she would not take in school
teaching, or the law or any profession.
Her father and mother, particularly
her mother, should always be in her
innermost confidence. They should
make their plans together. OF course,
If girl has been accustomed to sup
porting herself and has proved that
she is able to care for herself, diff
ferent problem is presented. Such a
girl. by the fact of her established
self-reiiance, could benefit. very iittls
by the advice of another
"one thing do know, however, and
that is this: no girl without funds ever
should come to California to try to
make career in motion pictures"
New-York tribune., 1922-10-15
Screen Demands More From
Actor Than the Stage Does
Inability to Use Voice Is Stage Actors Chief Oh
stacle in Film Work, Says -
Marshall NeiIan

Mr. Barrum brought to the screen
every trick of the stage, every subtlesy
Of the veteran dramatic actor. Yet
after the first few days Mr. Barnum
admitted TO me that at times he felt
lost. He, an artist Of fifty wears
stage experience, admitted there was
much he could learn in the art OF act
ing. ~
The chief obstacle that Mr.. Bsrnum
and every other stage actor encounters
in motion picture work is the absolute
discarding Of the power of the voice.
Many times you have seen persons or
the stage receive roars of laughter
without changing their facial expires
sions or the position of their bodies. 1t
was not what they were doing, but
what they were saying, that caused the
laughter.
Thus in motion pictures the actor
must Immediately give up the greatest
power that he possesses as an actor
the use of his voice. There are hun
dred tricks Of the stage that are abse-
lutely denied him. He must go back to
the first principles of acting. the first
principle of conversation and from
there start to build.
In short, he must 20 back to the art
Of pantomime. He must study the fun
damentals Of expressing without sound
every emotion. He cannot employ
these fundamentals themselves, for
that would be antediluvian acting and
would be laughed at. He must modify
these fundamentals and bring them up
to date. Instead Of waving his arms
he must resort to the mere flick of an
eye, look, grip, tenseness Of the
muscles in the hands, to effectively get
over what he is thinking about.
The first principle of conversasion-
the sign languages the basis of the
modern language Of the world, the
screen. Just as the sign language was
universally understood by the savage,
the Indian, the Esquimau, the Afri-
can in days of the past, so is the
language Of the screen understood by
persons in every part of the world to-
day. A,
1t is for this reason that the screen
has proved a great experience for the
stage actor. Once the art Of screen
pantomime is mastered the use of the
voice merely emphasizes and insures
the greater success of the player on
the stage.
Mr.. Barnum has said that no actor
of the stage will ever complete his
training and reach his greatest height
until he has learned from the motion
picture what it has to give to the
actor.
This, therefore, resolves itself down
to the fact that it is easier for the
actor of the screen to attain success
on the stage than for the actor Of the
stage to win fame on the screen. Il
also in my opinion substnntiates the
statement that the actor who wins sue
cess on the screen does so at the ex-
pense of greater effort and talent than
the actor Of the legitimate.
New-York tribune., 1922-10-15
BY Marshall Neilan

Does screen pantomime as an art
compare favorably with the achieve
ments Of the actor on the spoken stage !?
Frequently we find persons who be-
lleve that motion picture acting is as
ch.ld's play compared to acting in the
legitimate theater.
Nothing can be further from the
truth. In fact it is my opinion that
success is more difficult to attain in mo-
tion pictures than on the spoken stage.
1t is usually the person who knows
nothing of the great demands made
upon the motion picture actor-de-
nands which the legitimate actor does
not have to contend with-that belitties
the achievements OF the screen panto-
mimist.
1t was not so very long ago when
actors of the spoken drama laughed at
the idea Of working in the movies. To-
day there are few stage actors who
have not appeared in pictures. be-
lleve that most of these actors will
admit that the motion picture has
given them something that has en-
hanced their talent, regardless of the
extent Of their success on the stage.
1t Is also true that in practically
every instance where actors have
been purely the product of the
motion picture and have had no
early stage experience, they have met
with immediate success on the stage.
Among these artists are persons who,
had they started their careers in the
theater, would have attained little sue
cess in this field. Yet, with the train
ing that the motion picture has given
them, they have stepped out of the
camera lines AMI into the flare of the
footlights with notable success.
On the other hand, many Of our
greatest stars Of the stage have met
with mediocre recognition from the
public on their work before the motion
picture camera. There are dozens of
such truly talented stage players who
after several attempts have given up
~'S oSANS't AoACfGl1 WHllc Stlit OCneTS
are making a vigorous but nevertheless
fruitless fight to duplicate their stage
success on the screen.
George Bsrnum, veteran Of the
theater who has for the last half
century been associated with the spo-
ken stage, recently decided to inyesti-
gate the production of motion pictures.
Mr.. Barnum gave me my start on the
stage some ,fiftenn years ago. and has
directed and shaped the careers of a
hundred celebrities Of the theater.
1t was, therefore, not unusual that
he should call upon me to help
him learn the art of motion picture
production. Himself stage producer
from the old Belasco theater days in
Los Angeles and director of success
full plays all over the world, Mr.. Bar
mum was certainly in position to
give something to the silent drama.
At my suggestion he started his mo-
tion picture education as an actor. In
"Focls First" and then in "Her Man"
New-York tribune., 1922-10-15
Helene Ch ad wick
Has No Formula to
Aid in Picture Start

Helene Chadwick was nibbling dain-
tily at melon rose. Some one had
just estimated that more than 1000
young women had applied for jobs in
the movies with certain film company
within the past month. Miss Chad
wick, fresh from a pre-view of "The
Sin Flood" the last picture in which
she played as team with Richard
Dix and which will be the feature at
the Capitol Theater during the week of
October %, had this to say:
"You know one off the most embar-
RAISING questions that am asked, both
in my mail and by interviewers, is:
How can one get into motion pictures :?
have made several replies to that
question myself. / have had many
more replies than / ever could have
dreamed up put into my mouth by diff
ferent writers. The truth of the matter
is, if you care to know it, don't
know.
"There isn't any formula, sos far as
l can find out, for any one getting into
anything. My own experience couldn't
help any one. went from Chadwick,
N. Y, to New York City to study
music. / dreamed Of being great
piano player. An artist was intro
duced to me by friend, who thought
would make a fairly good model for
magazine covers. After that my musi-
cal studies were sadly interfered with
by artists who appeared TO agree with
my frien :. was photographed and
painted continually.
"One of the artists who used me as
model was Harrison Fisher. Donald
Mackenzie, who was making sThe
Challenge at that time (19l6) saw a
cover by Mr.. Fisher for which had
been the model, and he sent for me.
He was hardly fiattering. He said he
wanted some one who looked pre-
sentab1e, but at the same time could
ride and look like Western girl. /
said ! could ride. was engaged for
the lead and played it.
Apparently filed the bill. because
4 stayed with Pathe for the next two
years still trying to fulfill my smbi-
tions by studying music. playing leads,
and then ] went to the Coast. NY in
tended life work sank away into the
background when Goldwyn signed me
for a long contract.
Il !" Tbs point am making" Miss Chad
wick continued, "is that motion pic
lures simply reached out and snatched
me away from the career had picked
for myself. And while regret that
have not made great name ~ cons
New-York tribune., 1922-10-15
(Fron the Dra,oing by TiepoIo)

painted line. That is to say, in the
decorations Tiepolo employs an ex-
traordinary bravura, denoting his con-
tours with full and flowing brush.
There is no hesitancy, no vibration.
The stroke is magnifcently broad and
sure. AS draughtsman using pure
line he is still fluent and always
marvelously expressive, but never half
so sustained In his force. The line
IS short and the touch is very near to
wavering. Look at the drawings or the
etchings and you would never suspect
that they were from the same authori-
tative hand that moved across the CELL
ings of Venice with such superb virtu-
osity. %
The purity remains. There is great
beauty in the "Capricci" and the
"Scherzi di Fantasia" the beauty which
the needle always registers when it is
handled with instructive skill and judg-
mont, when the touch is spontane ously
New-York tribune., 1922-10-15

elegant, when tho contour of an arm,
the poise Of head, the fall Of drap-
cry Is indicated with both deftness and
largeness. Tiepolo never could lose
the grand operatic air. His fantastic
themes-and sometimes they are very
fantastic-possess an unexpected dig
nifty. Just as he could spread his
antique pageant upon the walls of the
Labia, giving 1t romantic-and Vene-
tian-investiturc at the oldest vari-
ance with the central spirit of his mo-
tive, and yet carry artistic conviction,
80 he could dabble in the obscurities
of his etched plates and yet achieve
q high pictorial unity. The exhibition
appropriately includes the plates Of his
son, Domenico, the plates of the celc-
brated "Flight into Egypt" series. They
are capital examples Of eighteenth
century facility and grace. But it is
Giambattista who has the secret of
style.
New-York tribune., 1922-10-15
Current Observations
About Art and Artists

There was placed on exhibition yes
terday at the Anderson galleries col.
lection whose ownership is not stated,
one of about three hundred objects
which will be sold next Friday and Sat
urday afternoons. It includes Ameri
can glassware, pottery, furniture,
hooked rugs and various other items.
The demolition of the old Bucking-
ham Hotel and other buildings on that
block has caused the removal of the
familiar print gallery of Kennedy & Co.
That establishment is now at se3 Fifth
Avenue, just below the st. Regis.
Shortly before his death Hamilton
Easter Field founded new organiza-
tion known as Salons of America. A
recent announcement made by the ar
lists associated with him in the ven-
ture states that the society stands for
the open door. "'It is the desire Of the
present board Of directors" they say,
fS0iuPOSC0 VI ulcHUSIS IIOuu HCdIiy
every. representative group in Amer
lea, conservative, modern, radical and
the rest, that the best talent Of every
group be included" The autumn salon
of 1922 opens at the Anderson galleries
tomorrow night and will continue un-
til November 4.
The first exhibition Of American pic
lures at the Enrich gallery this season
is given to groups of three paintings
by each of five men, D. Putnam Brin-
ley, Bernhard Gutmann, H. L. Hide
brandt, Charles Reiffel and Carl
Schmitt. Mr.. Schmitt's family imagi-
native ideas are lost in tasteIess color
and forced style. Mr.. Reiffel's land
scapes have certain realistic energy
and are pleasantly luminous, but show
no merit in composition. The portraits
and the landscape by Mr.. Hildebrandt
are commonplace. Mr.. Gutmann has
some good color in his "Mpnhegan ISL
and, and there is soft, agreeable
tone in his Flowers" The one member
New-York tribune., 1922-10-15
Forty Companies Of the Boy
Who Wanted Some More

@oliser Twist will be released in
road show form. This is Jackie
Coogan's latest picture, and from
thirty to forty companies will go on
tour at the same tirfe, which probably
will be the first week in octobsf Each
company will carry q manager ofches.
ira leader. special music score, adj
vance man and carlozd of accesso4
ries. The showings will net be confined
exclusively to picture houses, but will
be made in many legitimate theaters.
"oliyer Twist is in eight reels. In
the cast are Lon chaney, Gladys Brock
we'll, George Siegnann, Lionel Belmors
and score Of other well known play4
srs.