Evening star., 1936-01-19

art museums and other institutions.
An interesting detail of bookbinding,
brought to attention in this exhibition,
is the making of end papers, an old
art recently revived by Mr.. Cockerell
in England and delightfully."- described
by Mrs. Loring of Boston in little
book lately written and published,
with illustrations of end papers which
she herself has made. Mr.. Cockerell's
purpose in reviving the art was to Sc
cure end papers that would more
perfectly suit his own books. Ex-
amples of these end papers by both
Mr.. Cockerell and Mrs. Loring are
shown.
In this craft, as in all others, the
work. Obviously the latter can never
compete with the former in artistry or
enduring merit. The invention OF
man has never yet produced a ma
chine which in these particulars can
compete with his own hand, trained
to proficiency, backed by an intelligent
brain motivated by inherent and dis
eliminating talent. The combination
is rare and, due to the ascendency of
the machine, the dominance of guam
tita i've over qualitative production,
g. wing rare and rarer. But collec-
tors and others who want fine and en-
during work still depend upon the
skilled, conscientious craftsman to
bind his books, and it is hoped by
those who sponsor this exhibition OF
fine hand bindings by contemporary
binders that it will bring to the atten-
ton of the public the difference be-
tween machine and hand binding
even in the simplest form. A fine
book is worthy of fine binding-it
should be well clothed-and the de-
light of such not only to the eye, but
when held in the hand is exceedingly
great.
The privilege of this exhibition is
largely due to the initiative and ef-
fort of Mrs. William A. Hayes, not
only lover of fine bindings, but an
excellent binder, pupil Of Miss
Marian Lanes, through whose CO.
operation the collection was as
sembled and arranged.
TWO exhibitions opened at the Arts
Club of Washington last Sunday
and will remain on view for two
weeks more. In the gallery are hung
10 paintings by Hans Schlereth, while
in the drawing room and hall are
shown IS paintings and 3 works in
black and white by Alan Page Fla
velle-both artists of this city. The
contrast in the works of these paint
ers is very marked. Schlereth is a
pupil of Carl Mari and follows the
great tradition as interpreted by the
academic school, Flavelle is all mod
ernist, a user Of short cuts, an ex-
ponent of expressionism and the in
dividualistic viewpoint. He employs
the modern idiom with cleverness, but
without distinction. Although COM
parsons are proverbially odious, an
interesting opportunity is here af-
forded to compare the old and the
new.
In discussion Of modern art, held
under the auspices of the Washington
Society of the Fine Arts, in the audi
torium of the Corcoran Gallery OF
Art lately, Mr.. Lahey said, very truly,
that both academic" and modern"
have more than one meaning. The
word academic" to some means with
authority" or according to precedent.
while to others 1t conveys the i'm
preston "hide bound" "out-of date"
The same with "modernism"-it may
be interpreted as "of our time," ''pro-
gressive" or as extreme" wild"
In referring to the works of Hans
Schlereth and his master as "aca-
demic." the former definition is held
in mind under the conviction that
the academies have insisted upon
fundamentals and upheld standards.
This is not to say that while tread
ing the old roads some academicians
have not fallen into ruts nor does it
shift all modernists to that broad way
which we are told leads to destruc-
ton. As La Fargo once said, no
school of art can be accurately meas
ured. But there are differences.
Carl Mari was born In Milwaukee.
but studied in Weimar, Berlin and
Munich, and, living In Germany, has
identified himself With the German