(From Who's Who in America)

QUINN, EDMOND T. Painter. Sculptor. Born Philadelphia. Son John and Rosina (McLaughlin) Quinn. Pupil Pennsylvania Academy of Fine Arts, and under Thomas Bakins. In Paris under Injalbert. Married Emily Bradley, March 17, 1917. Specialty: Portrait Painter and Sculptor. Has executed statues of John Howard, Williamsport, Pa.; figures on Battle Monument, Kings Mountain, S.C.: Statue of Zoroaster, Brooklyn Institute Arts and Sciences: Decorative figures Pittsburgh Athletic Club; Bust of Edgar Allan Poe, Poe Park, N.Y.: Swanstrom Memorial, Borough Hall, Brooklyn: Statue of Edwin Booth in character of Hamlet, Gramercy Park, New York City: Statue of General T. C. Pemberton, at Vicksburg, Miss., etc. Represented in collections of Metropolitan Museum, New York: Member National Sculpture Society (Council); Architectural League of America, Associate National Academy of Design; Member National Institute of Arts and Letters. Silver Medal Panama Pacific Exposition 1915. Sculptor member of Art Commission, City of New York 1918-1919. Club - "The Players." Home and Studio 207 E. 6th St., New York.

Edmond T. Quinn, painter Sculptor, born in Philadelphia,
December 20, 1868 - son John and Rosina (Mc Laughlin)
Quinn; pupil, Pa. Academy of Fine Arts under Thomas
Eakins; in Paris under Injalbert; married Emily Bradley
of Newport R.I. 17 March 1917 - Executed Statue of
John Howard, Williamsport, Pa. Figures on Battle Monument
at King's Mountain, S.C.; Statue of Zoroaster, Brooklyn
Institute of Arts and Sciences; decorative figures
Pittsburgh Athletic Club; bust of Edgar Allan Poe at
Poe Park, New York; Swanstrom Memorial Borough Hall,
Brooklyn; statue of Edwin Booth in character of Hamlet,
Gramercy Park, New York; Statue of T. C. Pemberton at
Vicksburg, Miss; bust of Franklin W. Hooper and
Sylvester Malone, Brooklyn Museum; of Chancellor Kent
and Edwin Booth in Hall of Fame, New York; Whistler in
New York University; Victor Herbert Memorial, Central
Park, New York City; World War Memorial, New Rochelle,
N.Y.; Represented in collections at Met. Museum New York,
member National Sculpture Society, Architectural League
of America, New Society of Artists, Silver Medal Panama
P. I. Exposition 1915. Sculptor member Art Commission
N.Y.City 1918-9 A.N.A. Member National Institute Arts and
Letters, Clubs; Century, Players, National Arts.

Edmond T. Quinn, painter Sculptor, born in Philadelphia,
December 20, 1868 - son John and Rosina (Mo Laughlin)
Quinn; pupil, Pa. Academy of Fine Arts under Thomas
Bakins; in Paris under Injalbert; married Emily Bradley
of Newport R.I. 17 March 1917 - Executed statue of
John Howard, Williamsport, Pa. Figures on Battle Monument
at King's Mountain, S.C.; statue of Zoroaster, Brooklyn
Institute of Arts and Sciences; decorative figures
Pittsburgh Athletic Club; bust of Edgar Allen Poe at
Poe Park, New York; Swanstron Memorial Borough Hall,
Brooklyn; statue of Edwin Booth in character of Hamlet,
Gramercy Park, New York; Statue of T. C. Pomberton at
Vicksburg, Miss; bust of Franklin W. Hooper and
Sylvester Malone, Brooklyn Museum; of Chancellor Kent
and Edwin Booth in Hall of Fame, New York; Whistler in
New York University; Victor Herbert Memorial, Central
Park, New York City; World War Memorial, New Rochelle,
N.Y.; Represented in collections at Met. Museum New York,
Member National Sculpture Society, Architectural League
of America, New Society of Artists, Silver Medal Panama
P. I. Exposition 1915. Sculptor member Art Commission
N.Y. City 1918-9 A.M.A. Member National Institute Arts and
Letters Clubs; Century Players, National Arts.

Edmond T. Quinn, painter Sculptor, born in Philadelphia,
December 20, 1868 - son John and Rosina (Mc Laughlin)
Quinn; pupil, Pa. Academy of Fine Arts under Thomas
Bakins; in Paris under Injalbert; married Emily Bradley
of Newport R.I. 17 March 1917 - Executed Statue of
John Howard, Williamsport, Pa. Figures on Battle Monument
at King's Mountain, S.C.; Statue of Zoroaster, Brooklyn
Institute of Arts and Sciences; decorative figures
Pittsburgh Athletic Club; bust of Edgar Allan Poe at
Poe Park, New York; Swanstrom Memorial Borough Hall,
Brooklyn; statue of Edwin Booth in character of Hamlet,
Gramercy Park, New York; Statue of T. C. Pemberton at
Vicksburg, Miss; bust of Franklin W. Hooper and
Sylvester Malone, Brooklyn Museum; of Chancellor Kent
and Edwin Booth in Hall of Fame, New York; Whistler in
New York University; Victor Herbert Memorial, Central
Park, New York City; World War Memorial, New Rochelle,
N.Y.; Represented in collections at Met. Museum New York,
member National Sculpture Society, Architectural League
of America, New Society of Artists, Silver Medal Panama
P. I. Exposition 1915. Sculptor member Art Commission
N.Y.City 1918-9 A.N.A. Member National Institute Arts and
Letters Clubs; Century, Players, National Arts.

Edmond T. Quinn, painter Sculptor, born in
Philadelphia, December 20, 1868 - son John and
Rosina (Mc Laughlin) Quinn; pupil, Pa. Academy
of Fine Arts under Thomas Eakins; in Paris under
Injalbert; married Emily Bradley of Newport R. I.
17, March 1917 - Executed Statue of John Howard,
Williamsport, Pa. figures on Battle Monument at
King's Mountain, S.C.; Statue of Zoroaster, Brooklyn
Institute of Arts and Sciences; decorative figures
Pittsburgh Athletic Club; bust of Edgar Allan Poe at
Poe Park, New York; Swanstrom Memorial Borough Hall,
Brooklyn; statue of Edwin Booth in character of
Hamlet, Gramercy Park, New York; Statue of T. C. Pemberton
at Vicksburg, Miss; bust of Franklin W. Hooper and
Sylvester Malone, Brooklyn Museum; of Chancellor Kent
and Edwin Booth in Hall of Fame, New York; Whistler in
New York University; Victor Herbert Memorial, Central
Park, New York City; World War Memorial, New Rochelle, N.Y.;
Represented in collections at Met. Museum New York, member
National Sculpture Society, Architectural League of America,
New Society of Artists, Silver Medal Panama P.I. Exposition
1915. Sculptor member Art Commission N.Y.City 1918-9 A.N.A.
Member National Institute Arts and Letters, Clubs; Century,
Players National Arts.

OFFICE OF WINTHROP AMES

244 West Forty-Fourth Street, New York City

December 28, 1921.

Dear Mr. Quinn:

I don't see why I should any longer resist
the constant impulse to say "thank you" for having
created so beautiful and satisfying a thing as the
statue (I can't call it statuette) of Booth, which
"The Green Goddess" Company gave me a month or so ago.

It faces me on my desk, and almost hourly I
find pleasure and refreshment in its beauty, its dig-
nity and its repose.

It must be a happy thing to be able to add
durable pleasure to so many other lives!

ARTS CLUB

November 15

Dear Mr. Quinn,

Thank you for the card to the unveiling of
the Booth Statue. It is so quiet, graceful, pondering,
that it ranks among the few really satisfactory statues
in the city. I am particularly delighted to see how
you have made it interesting from the approach behind.
Gramercy Park has for the first time a worthy center
to which the eye goes naturally and returns with new
pleasure.

My congratulations on your high success!

(Charles deKay is a well known art critic.)

15 Exchange Street
Boston

My dear Quinn,

I don't believe I gave you a proper impres-
sion of how delighted I am with the panels in the
Hartford Building.

I think you have succeeded admirably in what
you set out to do; and I am very grateful to you for
all the work and skill you put into the job.

They are fresh in spirit and yet reserved;
and they have added immeasurably to the beauty of the
Rotunda. You may be sure that if another opportunity
comes I shall do what I can to get you to infuse charm
and grace into a bare and pallid stone wall.

Thanking you a thousand times for your devo-
tion to the job.

As always,

Friday, Dec. 28, 1923

96 COLUMBIA HEIGHTS
BROOKLYN
NEW YORK

28th November, 1921.

My dear Mr. Quinn,-

On Saturday I took my Mother up to the Brooklyn Museum, and she saw there, for the first time, your bust of my Father. She wants me to tell you that she thought it was the most wonderful likeness of anyone, that she has ever seen, in marble. You got, she felt, not only the heroic, and idealistic side of him, but the great tenderness which he kept carefully hidden, but which was so much a part of him. And she regretted she could not tell Mr. Healy, too, of her appreciation. We are wondering here in Brooklyn, how we shall get on without Mr. Healy.

With best regards to both of you,

Faithfully

28th November, 1921.

My dear Mr. Quinn,-

On Saturday I took my Mother
up to the Brooklyn Museum, and she saw there, for
the first time, your bust of my Father. She
wants me to tell you that she thought it was the
most wonderful likeness of anyone, that she has
ever seen, in marble. You got, she felt, not only
the heroic, and idealistic side of him, but the
great tenderness which he kept carefully hidden,
but which was so much apart of him. And she
regretted she could not tell Mr. Healy, too, of
her appreciation. We are wondering here in
Brooklyn, how we shall get on without Mr. Healy.

Faithfully

28th November, 1921.

My dear Mr. Quinn,-

Faithfully

96 Columbia Heights
Brooklyn, N.Y.

November 28, 1921.

My dear Mr. Quinn,

On Saturday I took my Mother up to the Brooklyn
Museum, and she saw there, for the first time, your bust
of my Father. She wants me to tell you that she thought
it was the most wonderful likeness of anyone, that she
has ever seen, in marble. You got, she felt, not only the
heroic, and idealistic side of him, but the great tender-
ness which he kept carefully hidden, but which was so much
a part of him. And she regretted she could not tell Mr.
Healy, too, of her appreciation. We are wondering here in
Brooklyn, how we shall get on without Mr. Healy. ****

Laurel House,
Lakewood, N. J.

Jan. 24, 1919.

My dear Mr. Quinn,

Ever since the unveiling of your beautiful
"Hamlet", I have wanted to write and express to you
my sincere admiration of this inspired Creation.
Genius alone can thus reproduce a figure so noble, so
ideally perfect - and we are all grateful to you for
having perpetuated in eternal bronze - not only
Shakespeare's Hamlet, but also my beloved Father -
Edwin Booth. You have breathed into your masterpiece
the very spirit of my father as Hamlet and I seem to
see him again "in his habit - as he lived".

Permit therefore, this wholly inadequate
expression of deep appreciation and of filial pride
and believe me

4819 Greenwood Avenue

My dear Mr. Quinn:

The pedestal and bust have arrived and I am delighted with the result. Everyone that has seen the bust feels it is a very fine thing; and you have made a remarkable likeness, especially so since you never saw the original.

You have my keen appreciation of your effort.

When I get to New York, I shall come and see you.

December 11, 1919

July 7th 1919.

717 St: Nicholas Ave.

Mr Edmond J. Quinn:
16 West 56th st.

My dear Mr Quinn:

I have this morning

sent to Mr Berg your account, which he had
forwarded to me, and my cheque to cover it.

I wish to thank you very sincerely
for your efforts and application in reproducing
Mr Ruggles' portrait. It is the great ornament
of the monument, a very impressive likeness,
and will give considerable pleasure to all those
of his friends who still remain, and may see it,
and to all those who are interested in him or
the Park.

Wishing you many more opportunities
to exercise your art for the benefit of the public,
and for the promotion of American Art, I am

Yours, very sincerely

John R. Strong

July 7th, 1919

717 St. Nicholas Ave.

Mr. Edmund T. Quinn,
16 West 56th Street,
New York.

My dear Mr. Quinn:

I have this morning sent to Mr. Berg your
account, which he had forwarded to me, and my cheque
to cover it.

I wish to thank you very sincerely for your
efforts and application in reproducing Mr. Ruggles'
portrait. It is the great ornament of the monument, a
very impressive likeness, and will give considerable
pleasure to all those of his friends who still remain,
and may see it and to all those who are interested in
him or the Park.

Wishing you many more opportunities to exer-
cise your art for the benefit of the public, and for
the promotion of American Art, I am

PAINTINGS
SCULPTURE
PORTRAIT COMMISSIONS

CAROLYN GRAVES
DECORATIONS

JOHN E. D. TRASK, INC.

52 EAST FIFTY-THIRD STREET, NEW YORK
Telephone PLAZA 4047

February 8th, 1923.

Edmond Quinn, Esq.,
207 East 61st Street,
New York City.

My dear Mr. Quinn:

It may be that I am not recalled by you at all. Nevertheless, I hope I may venture to tell you the pleasure I had in seeing your two statuettes in The Pennsylvania Academy Exhibition. The one of Mr. Mries, I know to be an admirable characterization and I feel sure that the other statuette is too but certainly both of them are very refreshing. In this day when rather superficial work frequently receives undeserved approval, it is encouraging to know that we have some sculptors who are competent and sincere.

Faithfully youra,

JOHN E. D. TRASK, INC.

CAROLYN GRAVES
DECORATIONS

February 8th, 1923.

My dear Mr. Quinn:

It may be that I am not recalled by you at all.
Nevertheless, I hope I may venture to tell you the pleasure I
had in seeing your two statuettes in The Pennsylvania Academy
Exhibition. The one of Mr. Mories, I know to be an admirable
characterization and I feel sure that the other statuette is
too but certainly both of them are very refreshing. In this
day when rather superficial work frequently receives
undeserved approval, it is encouraging to know that we have some
sculptors who are competent and sincere.

CAROLYN GRAVES
DECORATIONS

JOHN E. D. TRASK, INC.

February 8th, 1923.

My dear Mr. Quinn:

John E. D. Trask, Inc.

52 East Fifty-Third Street, N.Y.

February 8th, 1923.

Edmund Quinn, Esq.,
207 East 61st Street,
New York City.

My dear Mr. Quinn:

It may be that I am not recalled by you at all.
Nevertheless, I hope I may venture to tell you the plen-
ure I had in seeing your two statuettes in the Pennsyl-
vania Academy Exhibition. The one of Mr. Mories, I know
to be an admirable characterization and I feel sure that
the other statuette is too, and certainly both of them
are refreshing. In this day, when rather superficial work
frequently receives undeserved approval, it is encourag-
ing to know that we have some sculptors who are competent
and sincere.

THE EDWIN BOOTH MEMORIAL

IN Gramercy Park, this city, on November 13, 1918, was unveiled a bronze heroic statue of Edwin Booth, the greatest Actor who ever trod the American stage. It was the anniversary of his birth.

What invests this act with extraordinary importance is this—that it is the first statue erected in this country to an Actor, who is here shown at the age of thirty-five, about to begin Hamlet's soliloquy on life and death.

The cost of this monument was met by voluntary
contribution by the members of "The Players" Club.

The sculptor was Edmond T. Quinn, and the
architect of the pedestal was Edwin S. Dodge. The
price paid Mr. Quinn was $25,000; the Club's other
expenses were about $2,000; making the total cost
$27,000. Here is the

PROGRAMME

"Blow, Blow, Thou Winter Wind," from "As You Like It"—Sung by a Quartette, directed by C. L. Stafford.

Statue of Edwin Booth—Edmond T. Quinn, sculptor
Gramercy Park, New York

Invocation—Rev. George T. Houghton, D.D.

Presentation of Memorial to The Players—By
Howard Kyle, Secretary of the Executive
Committee of the general committee which
made the monument possible.

John Drew, the veteran actor, then spoke as
follows:

"Mr. President, it is with a sense of deep gratitude that we meet you at the base of this finished

memorial, designed to perpetuate the memory of
our common benefactor—a great actor—the en-
chantment of whose art is still an abiding influence
in many of our lives. The Committee, speaking for
the membership of the Club, whose voluntary con-
tributions have met the cost entailed, have the honor
to ask that The Players now accept the monument,
free from encumbrances, and assume the duty of
its preservation. In doing this, we are confident
the beauty of the figure and pedestal will elicit from
you a tribute to the sculptor and the architect, and
the warmest appreciation is due the trustees of
Gramercy Park, without whose full cooperation our
end could not have been realized."

Unveiling of Memorial—By Edwin Booth Gross-
man, grandson of Edwin Booth.

Acceptance of the Memorial on behalf of The
Players and acknowledgment of the coopera-
tion of the Trustees of Gramercy Park.

Response on behalf of the Trustees—By John D.
Pine of the Trustees, in place of Stuyvesant
Fish, its Chairman, who could not attend on
account of absence from the city.

Appreciation of the character and art of Edwin
Booth—By Prof. Brander Matthews.

"Who is Sylvia?" from "Two Gentlemen of
Verona"—By the Quartette.

The statue, of dull green bronze, on a dull green
stone pedestal, stands in the centre of the Park,
looking south—as all portrait-statues should look—
in order to always have the face in the sunlight.
Circular flower-beds have been made around, in
front, and in back of the statue.

Those who often saw Booth, and learned to love
him, between 1863 and 1903—the year of his death
—and remember the size, the bulk and lines of his
body and face, can find only words of praise for the
work of Mr. Quinn. From the primary and
fundamentally necessary standpoint of *truth*, it is
one of the best portrait statues ever erected in this
country. Truth radiates from every inch of the
work. We feel it is Booth, as nearly so as it will
perhaps be possible to represent any man.

This truth is the necessary element of every
successful statue. This is the universal element.
The element that every normal mind demands in
every work of art put forth by an artist in order
to captivate the hearts of his fellow citizens. This
is the element without which no work of art can
arrive at a permanent popularity, and therefore im-
mortality. This element of universality has not
been obscured in this statue by any childish Rodin-
esque departure from nature by any sort of cheap
and easily achieved "deformation of the form." The
artist was not pushed by a call of ego-mania to do

(Continued on page 188)

147

ARTS & DECORATION

January, 1919

THE EDWIN BOOTH MEMORIAL

(Continued from page 147)

a modelling "stunt," thus hiding the man Booth and parading the "technician" Quinn—a practise so dear and so fatal to the aberrated ego-diseased modernists of every degree of kow-towing to the fetish of "individualism gone mad."

And yet the modelling shows a manner, one that is sufficiently Quinn's own to be recognized as not being that of any other sculptor. It is Quinn's manner, expressed with that Greek restraint which will more and more make it appeal to the wise, even if those outside the fold of sculptors fail to see it. It is this patent restraint which will help the work to grow in our affections.

Then the statue is socially good. For it shows Booth as a most sympathetic, poetic and lovable man, and in the rôle of Hamlet, his greatest achievement, in which he charmed thousands by his unforgettable rendering of that great rôle.

Finally the statue is composed with so much grace of line, charm of light and shade, unity of form and movement, which invests it with an exalt-ing style that it is *beautiful*. Hence, it measures up in a high degree to the demands of the fundamentals of all enduring art: it is True, Good and Beautiful.

We congratulate Quinn on his masterly creation; we rejoice with The Players in their good luck—for it is some luck for even a great sculptor to achieve a success, seeing that even the greatest of them have in the past made grievous failures, along with great success.

ARCH 27. 1927.

ened—Many

## Edmond Quinn's Portraits Are True to Life

The gallery of Mrs. Marie Sterner, No. 9 East 57th Street, is occupied by a series of portrait busts by Edmond Quinn, which should comfort those who suffer from the delusion that a sculpture, particularly portrait sculpture, is a lost art. The irrepressibly fashionable may insist that Mr. Quinn's portraits are conscientious and conventional.

Certainly they are conscientious, as good portraits always are, and their style is necessarily controlled by their realism. For the unguarded Mr. Quinn's style is a little too subtle. Having a fondness for truth of characterization and a complete unwillingness to rely upon tricks of-caricature or the obvious surface eccentricities of his subjects, Mr. Quinn presents a series of portraits that do not require our stylization to escape the curse of sameness.

Needless to say some of his subjects have appealed to him more than others. A sternly truthful portraitist like otter disciplinarians is restricted to the law of the sow's ear. And when Mr. Quinn depicts a conventionally successful materialist he does not seem as inspired as when he portrays an artist. Eugene Onell, Felix Salmon, awong the likenesses that seemed to Leon Kroll and Padraic Colum are me to have most vividly awakened Mr. Quinn's portrait capacities. However his art is not limited to successful male portraits. Several of his portraits of ladies of rather unusual attractions are subtly appreciative of character without being sweetly feminine.

ARTS & DECORATION

January, 1919

## THE EDWIN BOOTH MEMORIAL

*(Continued from page 147)*

THE EDWIN BOOTH MEMORIAL

PROGRAMME

memorial, designed to perpetuate the memory of our common benefactor—a great actor—the enchantment of whose art is still an abiding influence in many of our lives. The Committee, speaking for the membership of the Club, whose voluntary contributions have met the cost entailed, have the honor to ask that The Players now accept the monument, free from encumbrances, and assume the duty of its preservation. In doing this, we are confident the beauty of the figure and pedestal will elicit from you a tribute to the sculptor and the architect, and the warmest appreciation is due the trustees of Gramercy Park, without whose full cooperation our end could not have been realized."

Unveiling of Memorial—By Edwin Booth, Grossman, grandson of Edwin Booth.

Acceptance of the Memorial on behalf of The Players and acknowledgment of the cooperation of the Trustees of Gramercy Park.

Those who often saw Booth, and learned to love him, between 1863 and 1903—the year of his death—and remember the size, the bulk and lines of his body and face, can find only words of praise for the work of Mr. Quinn. From the primary and fundamentally necessary standpoint of *truth*, it is one of the best portrait statues ever erected in this country. Truth radiates from every inch of the work. We feel it is Booth, as nearly so as it will perhaps be possible to represent any man.

This truth is the necessary element of every successful statue. This is the universal element. The element that every normal mind demands in every work of art put forth by an artist in order to captivate the hearts of his fellow citizens. This is the element without which no work of art can arrive at a permanent popularity, and therefore immortality. This element of universality has not been obscured in this statue by any childish Rodin-esque departure from nature by any sort of cheap and easily achieved "deformation of the form." The artist was not pushed by a call of ego-mania to do

(Continued on page 188)

147