economical colour- touches delicately dealt out
over them, quite surprising and delightful. He is
also wider in his range of subject, as scenes from
war time as well as from modem society life form
his particular delight. He often indulges in the
historical costume, preferring that of Frederician
times. His frames are generally modest, and
however numerous his figures are he knows very
cleverly how to place them, and catches actuality
convincingly in their movements. It is said that
his eye and hand are so sure, that he paints his
pictures straight from memory and then wipes
out the passages not wanted. Schreuer does not
belong to our great ones, as the style of the illus-
trator hovers round his work, but in his individual
character he is one of our most original artists.
At Fritz Gurlitt's, all the friends of Heimat-
kunst (home-art) were glad to greet Hans am
Ende, one of the staunchest and finest Worpswede
'THE princess's ELEPHANT"
BY MICHBL MORTL
241
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are usually represented at the " Ind^pendants."
I am totally unable to see what is to be the
future of this side of the society, and what can
possibly be the outcome of these really absurd
attempts — frequently nothing more than preten-
tious daubs. There were, however, at the Salon
numbers of works by really serious artists who
know their craft thoroughly but who are neverthe-
less striving ever without cessation to do still better
things. Among these, for example, we found
M. Desvalli^res, who paints with such feeling both
still life and portraits ; Abel Truchet, 2ipiein airistCy
who does charming luminous pictures ; Morerod,
who exhibited some capital drawings of Spanish
types ; Stettler, with a very beautiful picture, Les
communiantes ; Ouvr^, whose figures are curious
and bizarre ; Perrichon, who excels in drawings in
sanguine; Csok, who has the finished touch of the
Old Masters; Taquoy, who merits a place with his
excellent landscapes; Simon Bussy, who showed
some harmonious decorative paintings; Altmann,
whose landscapes one always enjoys seeing ; Made-
line, an equally delightful landscapist ; and among
the foreigners Schultzberg, a bold and powerful
colourist.
•*A PAIR OF MONKEYS * BY MICHEL MORTL
{See Vienna Studio- Talk)
long as they produce good art. A speciality is
made here of the introduction of promising talent,
which has often enough realised expectations.
Femand Khnopff again
fascinated by numerous
works abounding in sensi-
tiveness and mystery,
while Cambrier, Bergeret,
Charlet, Courtens, Gilsoul,
Marcette and Mathieu
render reality with dignity
and truthfulness. J. J.
Some of the other exhibitors at this Salon
appeared to me to have come there rather by chance,
for they remain at the same time faithful to other
societies — though this in my eyes does not detract
a jot from their merit. It was with much pleasure
that I paused in front of the poetic landscapes of
PA R I S. — T h i s
year's Salon
d'Automne, like
those which
preceded it, offered us
many and diverse kinds of
art. First of all, one found
here work of the most
advanced order, and — may
we venture on the word ? —
also the maddest produc-
tions of those artists who
242
FOUNTAIN IN GLAZED CRYSTAL
BY MICHEL MORTL
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tions are always among the chief attractions at the
Salon d'Automne, which has already shown us
most interesting ensembles of the work of lilies,
Manet, Courbet, Greco, Monticelli and Cezanne.
One room was devoted to the works of Corot as
2i figure painter. Several of these struck me as
being of secondary importance, but on the other
hand one was pleased to see certain portraits of
Italians, of a man in armour, Breton women
spinning, and in particular the Bain de Diane^
though this last is really a landscape, the figures
being quite of minor importance.
HEAD OF MMB. DSLUNB BY ROSA SILBERER
(See Vienna StudiO'Talk)
A few months ago there died a Dutch artist
whose talented work was but little known to the
public at large ; Ten Gate. The Salon d'Automne
did very well in giving up to his pictures a
small room, which formed one of the most delight-
ful features of the Exhibition. Fifty works —
paintings, water-colours and drawings — revealed
to us a charming artist imbued with the picturesque-
ness and luminosity of his country. Ten Gate
was really but a pupil of Jongkind. Less powerful
Eugene Ghigot, which are
truly of exquisite harmony;
the restrained portrait by
Mme. Galtier - Boissiere,
and the portrait of an
Amazon by Mr. Lavery,
whose work is always so
distinguished and so un-
faltering; and I enjoyed
the very poetic flower
paintings of Mme. Lisbeth
D. Garri^re, the strong and
simple landscapes of
Morrice, the decorative
panel by Mme. Grespel,
and the sunlit figures of
Mme. Gonyn de Lurieux.
Three artists whose works
were grouped together in
the one room seemed to
me to be carrying on the
traditions of Sisley ; these
are MM. Maufra, Loiseau
and Moret, whose produc-
tions deserve a very close
study.
The retrospective sec-
*THB KARAWANKEN MOUNTAINS'
BY VIKTOR^MYTTEIS
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at Znaim. In the Zoological Gar-
dens at Schonbrunn Herr Mdrtl
had every opportunity of study-
ing the habits of animals, and the
various examples of his work now
reproduced show that he has pro-
fited by his observations.
The work of Fraulein Rosa Sil-
berer, the talented young Viennese
sculptor, is already well known to
readers of The Studio. The
artist now resides in Paris, and
her work has met wiih warm
appreciation there, among the
many commissions she has re-
ceived being one from the French
Government Of late the artist
has sought rest from greater efforts
in the comparative calm of model-
ling portrait busts. The one re-
produced on p. 243 will serve to
show how capable she is in this
direction. It is that of Madame
Delune, the eminent Belgian 'cellist,
whose playing has been so much
admired in Paris.
*' horse's head" (coloured drawing) by alfons purtscher
than his master he deserves nevertheless a place
of honour among the landscapists of the nine-
teenth century. H. F.
VIENNA. — Some two years ago Michel
Mortl, who had been a student at the
Fachschule in Villach, and later under
Professor Strasser at the Kunstgewerbe-
schule in Vienna, exhibited a fountain destined
for a garden in Klagenfurt in Carinthia, where the
exhibition was held. This work, which was re-
produced in The Studio with some notes on the
exhibition, won warm praise for the talented young
sculptor. Since that time he has been appointed
to the Fachschule at Znaim in Moravia, a school
established very long ago, and which has been
always devoted to teaching the art of ceramic and
porcelain making. Previously Michel Mortl had
been artistic manager to Herr Fdrster in Vienna,
where he gained that practical knowledge necessary
to everyone who wishes to become a successful
designer, and afterwards he started on his own
account, giving up only to accept the appointment
244
The art exhibitions in Klagen-
furt are, thanks to the untiring
efforts of Baron F. von Helldorff,
an artist of talent though an amateur, every year
becoming more widely recognised. That they have
aroused much interest is proved by the fact that
the State has granted a subsidy for the exhibition,
and offers gold and silver medals for the artists,
thus following the example of the little city herself.
Plans have been drawn up for a proper art gallery,
but for some time at least the exhibitions must of
necessity continue to be held in the Gymnasium,
which in summer is transformed into a home of
art. , This year the transformation was performed
by Franz Baumgartner, who may be said to have
solved a difficult problem fairly well, though one
missed the unity of character which was such a
prominent characteristic of the late architect,
Winkler, who arranged the first exhibitions.
There were but few portraits, Toni Gregoritsch
being perhaps the most prominent in this class of
work. What strikes one in his portraits is their
fidelity and naturalness. This artist was until
lately an officer in the Emperor Franz Josefs
army, though he has always had a strong affection
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for art. His fine artistic
feeling and right judgment
have quickly brought him
on in the path of fame, for
he has already become re-
cognised by his compeers
as a sound artist, and
examples of his work have
appeared in The Studio.
Good work was also shown
by Raoul Frank, Alexander
Goltz, Frieda Brandl,
Oswald Grill, Arved von
Becher, K. Stoitzner and
Ernst Riederer. Hugo
Baar contributed some of
his snow scenes, painted in
that fine delicate manner
of his which gives so great
a charm to his pictures.
Ludwig Willroider, another painter of distinction,
was represented by several of those smaller works
in which he excels, but which he so rarely exhibits.
He finds his motives in secluded nooks, and in
depicting these he reveals a rare imaginative power.
BOOK COVER WORKED WITH HOT TOOLS
BY EVA SPARRE
* BEFORE THE SNOWSTORM** (TEMPERA)
Another artist of exceptional note is Viktor Kramer,
whose many sojourns in the East have helped to
make him a master in the interpretation of Oriental
themes. Viktor Mytteis seeks his studies in the
mountains, in which he is as much at home as on
the plains. He showed
some good work, and
proved himself an artist
of merit. Gilbert von
Canal, Leopold Resch
and Alfred Zoff were also
well represented. Alfons
Purtscher, a talented
pupil of Ziigel, showed
some excellent drawings
of animals. Friedrich
Gornik exhibited some
of his fine bronzes,
Julius Lengsfeld ivory
plaquettes of high qual-
ity, Franz Schleiss and
Emilie Schleiss-Simahdl
excellent ceramics, and
Marie Bauer various
objects in arts and crafts,
which were of true artistic
value. A. S. L.
STOCKHOLM.—
The dark autumn
days are not
favourable for art
exhibitions, and it is un-
BY HUGO iivAR usual for any important
245
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BOOK COVER IN TOOLED LEATHER. BY EVA SPARRE
shows to take place in Stockholm during the
closing months of the year. This year an excep-
tion has been made by the Swedish Academy of
Fine Arts inviting the Royal Society of Painter-
Etchers and Engravers to exhibit in their galleries.
The exhibition was opened on the nth of October
by the Crown Prince and Crown Princess (Princess
Margaret of Connaught), who both take a deep
interest in matters of art. The exhibition had a
great success, a large number of the etchings
being sold. The National Museum of Stockholm
has used the opportunity to increase their print-
collection with several fine proofs. Perhaps
those that aroused most interest in Swedish art
lovers were those by Sir Francis Seymour Haden,
Messrs. Brangwyn, L^ros and East, and the
German associate - member, Hermann Struck.
BOOK COVER IN TOOLED LEATHER
BY EVA SPARRE
BOOK COVER IN TOOLED LEATHER
BY EVA SPARRE
246
Frank Brangwyn is one of the few modern etchers
who have found their way into the hearts of the
Swedish connoisseurs, and many of his best etchings
have been added to their collections. Among the
comparatively few foreign members of this society
are three Swedish artists, A. H. Haig (Hagg),
Hjalmar Molin and Axel Tallberg, all three of
whom took part in the exhibition. T. L.
The bindings by Countess Sparre here illus-
trated were on view at the recent exhibition of
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Applied Art, but did not receive the prominence
they merited, being crowded amongst a large col-
lection of trade bindings. The Countess, whose
husband, Count Louis Sparre, is well known
to readers of The Studio as an artist of much in-
dividuality, is herself a gifted woman, and her work,
as exemplified by these bindings, will, we are sure,
meet with wide appreciation on account of the fine
decorative feeling which it reveals. In three of
these bindings the ground colour is yellow, the
other ("Herr Ames Penningar") being worked on
a dark green ground with a little gold and red by
way of relief. The cover of de Musset's book is
worked with hot tools, and the decoration is carried
out in green, yellow, pink, brown and black,
judiciously distributed. Various subdued colours
are also effectively employed for the " Italiensk
Renassans," while in the address- book cover the
dark yellow ground is pleasantly relieved by red
and green.
COPENHAGEN. — The name of Mr.
Carl Brummer, the Danish architect,
is not unknown to the readers of this
journal, inasmuch as The Studio a
year or two ago contained some reproductions of
" Ellestnen," a charming and original house, one of
the architect's earliest efforts, which attracted a most
flattering attention on both sides of the Atlantic.
" Ellestnen " was partly designed after certain old
northern motifs^ ably adapted and handled, thus
illustrating one side of Brummer's artistic nature/, .
He believes in the continuity of art, in evolving,
to $ome extent at least, the new from out of
the past, sifting and choosing or rejecting style
and motifs at times, however, almost completely
discarding tradition, though more often than
not, I think, adapting and shaping it in con-
formity with his own artistic individuality, at
the same time carefully considering the personal
tastes and requirements of the future occupants.
Brummer unquestionably is a domestic architect of
rare ability, and the illustrations published to-day
will bear out what I have said with reference both
to his exceptional gift of thoroughly entering into
a given style and the personal originality with
which he endows other specimens of his work.
The house of Dr. Ernst Mdller, the advocate,
may be taken as a good example of the latter
category. It is really a most excellent house, with
exceptionally well-balanced and harmonious con-
tours which betray the architect's fondness for good
sweeping curves, with the red-tiled roof, the red
brick walls (of a happily chosen mellow colour and
DR. B. MOLLER'S HOUSE IN COPENHAGEN
CARL BRUMMER, ARCHITECT
247
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Art School Notes
good snrface), and the brownish-red i«;indows, as
restful in colour as in line. The interior is like-
wise skilfully planned, each room having its
distinct stamp and its distinct charm. There is
something trusty and self-contained about this
house ; one feels as if it must be destined to form a
family's happy, treasured home for generations.
The other house illustrated, that of Mr. Ovist-
Petersen, is a good-sized town residence, certain
portions of which are relieved by touches of an
old-time picturesqueness, as seen in the picture
of the porch. G. B.
ART SCHOOL NOTES.
LONDON.— Mr. George Clausen, R.A., Mr.
P. Wilson Steer, Mr. R. Anning Bell,
R.W.S., Miss May Morris, Mr. David
McGill, and Mr. Herbert Dicksee, were
the adjudicators in the sketching club competitions
held last month by the past and present students
of the Royal College of Art. The task of the
judges was no light one, for the display of com-
peting works was unusually large. It was, in fact,
much too large, and it would be to the interest of
the students if on future occasions their exhibitions
were pruned to more manageable limits. Last
month's show was so overpowering in extent that
it would have been impossible for the most con-
scientious of critics properly to examine it in detail
and to pick out the many creditable works it
contained in addition to those that were awarded
prizes. The prize list, by the way, was this year
unusually lengthy, and included no fewer than
twenty-five gifts of money from the professors past
and present, and others who are interested in the
progress and well-being of the College.
Some capital work was shown in the competition
for the prizes oflfered by the Principal (to present
students only) for the best set of sketches in
colour. The vast majority of the works submitted
for these prizes were landscapes, and by landscape
painters all the awards were gained. The first
prize was taken by Mr. J. B. Godson for some
clever sketches in oil of coast scenery ; the second
for some pastorals, also in oil, by Mr. Rowland
Gill ; the third by Mr. H. R. Wilkinson ; and the
fourth by Mr. B. Wright. Perhaps the best of the
figure sketches sent in for the Principal's prizes
were those by Mr. George H. Day and Mr. Percy
H. Jowett. The prizes offered by Mr. Bradley
Martin for the best painting for the "Gilbert-
Garret " subject " I^abour " were taken by Mr. A.
Cooper with a good study in oils of the building of
a house, something in the Brangwyn manner, and
by Mr. J. Kershaw with an attractive water-colour
of men working on a London river-side road. A
third commendable study was Mr. Day's painting
of harvesters.
Another good competition was that for the
Haywood prize given for the best painting of a
full-length figure executed out-of-doors. It was
gained by Mr. Oliver Senior, with a painting of a
girl in a garden that was certainly the best of its
class. The Constable Alston and Woolway prizes
offered for "the best sketches in which cloud-forms
play an important part," went to Mr. E. A. Waite
and Mr. B. Wright; but in this particular com-
petition the College of Art students did not show
to advantage. The two prizes given by Mr. Frank
Short, A.R.A., and Miss Pott, were gained by Mr.
S. Anderson (with an. etching of an old bookshop
that would have made a delightful subject for
Whistler) and by Miss Hughes ; the Armstrong
prize by Miss Pritchard ; and the Fitzroy prize for
the best study of architecture in combination with
landscape by Mr. W. O. Miller. The Club prize
in Section B for a set of sketches in colour was
given to Mr. H. Parr for a group of water-colours.
This was a capital competition, and brought forth
good work also from Mr. A. Bentley, Mrs. Senior,
Mr. Arthur Kidd, Miss Billing, and others. The
Club prize for an interior in colour was awarded to
Mr. W. O. Miller for an accurate and careful, if
somewhat lifeless, study of a church ; and the two
Club prizes for landscape (Section A.) to Mr. B.
Wright and Miss E. Waring.
In modelling the principal competition was for
the prizes offered jointly by Major the Hon. E. St.
Aubyn, Professor Lanteri, and Mr. B. Clemens,
for the best group illustrating the " Gilbert- Garret "
subject, "Samson and Delilah." The first prize
was gained by Mr. C. Vyse, and the second by
Mr. G. Ledward, who also took the prizes for
modelling given by the Club, and by Mr. Alfred
Drury, A.R.A. Other prize-winners in the Royal
College of Art competitions included Mr. W. Ash-
worth, Mr. R. O. Pearson, Miss Martin, Mr. T. H.
Hughes, Mr. F. W. Hounsell, Miss J. M. Lawson,
and Mr. Langford Jones.
At Heatherley's, the Sketching Club exhibition
showed a remarkable advance upon the standard
of last year. Mr. S. W. Stanley, who shared the
figure prize with Miss Phyllis Campbell, contributed
249
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Reviews and Notices
a striking drawing of men at work at night near a
gasworks, curiously effective in its light and shade.
Miss Campbell's composition, in tinted pen-and-
ink, which deservedly attracted great attention,
represented two maiden ladies of the early Victorian
or perhaps late Georgian period, at work on a large
patchwork quilt. It was clever caricature, full of
humour in every line, and remarkable as the work
of a very young artist. Miss Campbell also
exhibited a good poster, in red and white, of a
pierrot and a dwarf. More mature in its knowledge
was Mr. S. W. Stanley's *• Pageant" poster, with
spectators sitting in shadow in a balcony watching
the knights and men-at-arms beneath, passing
through the courtyard of a castle at night. Other
interesting posters were by Mr. Fred Holmes, Mr.
J. Brown, and by Mr. Gerald Peacock, who also
showed a vigorously handled landscape, — a river
bank with trees, broad and simple in treatment —
which gained the Sketching Club prize. The
figure designs by Mr. P. B. Mimms, Mr. J.
Brake Baldwin, and Mr. Heathcote, also deserved
commendation. The exhibition was probably the
best of its kind that has been seen at the well-
known school in Newman Street.
The Sketching Club at the South Western Poly-
technic Institute, Manresa Road, Chelsea, may
also be congratulated upon the good show seen at
its autumn exhibition. The first club prize for
figure was awarded to Mrs. McKillip, for a realistic
painting in oil of a woman scrubbing a floor ; and
the second to Mr. Field for a drawing, in black-
and-white, illustrating " The Song of the Sword,"
and displaying imaginative qualities of a somewhat
uncommon nature. The landscape by Miss
Reeves that gained the first prize in its section
was a coast scene in water-colour, slight and
delicate in execution, but wonderfully complete
within its own limits. Miss Brown's prize com-
position in the modelling section was slight, also
in the sense that it was literally a sketch, but it
was suggestive and vigorous. In the design
section four prizes were offered for posters — two
for advanced and two for elementary students.
Mr. North and Mr. Butcher won the advanced
prizes, and Miss Brown and Mr. E. Merry weather
those in the elementary group. Mr. Merry weather
is one of Mr. Borough Johnson's youngest students,
and his poster, for a boy of fourteen, was excep-
tionally good. The prize for animal painting was
won by Miss Brodie ; and the prizes for the best
set of landscape studies by Miss Reeves (first),
Mrs. McKillip and Miss Br^nston (second— equal),
250
Miss Mason (third), and by Miss Lucas, to whom
the elementary prize was given. One of the best
studies in this section was a sketch of sands and
sea in oil by Miss Branston. W. T. W.
REVIEWS AND NOTICES.
The New New York, A Commentary on the
Place and the People. By John C. Van Dyke.
Illustrated by Joseph Pennell. (New York and
London : Macmillan.) 1 75. net— The letterpress of
this fascinating volume presents a union of what at
first sight would appear to be quite heterogeneous
qualities. It is a perfect storehouse of facts, a
true encyclopaedia of knowledge about the new
unbelievable city ; yet it is written in as free and
captivating a style as any exciting novel. The
author is most intimately acquainted with all
phases and details of his subject, like one who has
grown up with it ; yet, in approaching it, he pre-
serves the freshness and vividness of impression
of a highly cultured traveller who acquaints us with
the sensations that he experiences at the first sight
of some new country. His point of view is an
altogether optimistic one, and he believes, with
r^ard to New York, that what is, is right. Never
has a city had a more enthusiastic biographer
than this, and never has an author found a more
befitting artist to complement his own elTorts, than
this author has found in Mr. Pennell. Mi. Pennell
is not a New Yorker, nor has he ever lived for any
long period in "Gotham." But with him it is a
case of love at first sight ; the city appeals to him
like the realization of one's ideal, and he grasped
it at once. He has contributed twenty - five
coloured and ninety-eight black-and-white draw-
ings to the book. The latter, mostly pencil
and crayon drawings, may perhaps lack the
finality of Mr. PennelPs wonderful etchings
of New York, yet the same admirable powers
of draughtsmanship and the same rare gift of
selecting just the right point of view for each
picture, appear clearly in these illustrations, as we
have met with them in other works by the same
artist. The colour work is quite a new departure
for him. Piquant touches of gay colour here and
there enliven twenty-five of the designs, and the
colour itself is treated in the same sagacious way
as line has been treated — it does not describe or
define, it merely ofTers hints or suggestions to the
imagination of the beholder.
Giovanni Boccaccio. By Edward Hutton.
(London : John Lane.) \os. 6d, net — The weakest
in character but at the same time the most
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thoroughly human of the remarkable triad of poets
who in the early fourteenth century heralded
the dawn of the Italian Renaissance, Giovanni