་ GOTTSCHEWSKI (A.). Die Fresken des Antoniazzo Romano im Sterbezimmer der Heil. Catarina von Siena zu S. Maria sopra Minerva in Rom. (12×8) Strassburg (Heitz), 4 m. [II plates.] TEMPLE (A. G.). Dutch Art, twenty-one examples of the most notable Dutch artists, with a brief biography of each. (16 x 11) London (Blades, East & Blades), 5 gs. net. Photogravures of some of the most characteristic specimens' at the Guildhall Exhibition, 1903. DEWHURST (W.). Impressionist Painting: its genesis and development. (12 x 8) London (Newnes), 25s. net. [Illustrated.] CATALOGUE of a loan collection of Portraits of English Historical Personages who died prior to the year 1625. Exhibited in the Examination Schools, Oxford. (9×6) Oxford (Frowde), 6d. [Photogravure frontispiece.] HESSLING (E.). Decorative und monumentale Malereien zeitgenossischer Meister. 2 vols. (20 x 15) Leipzig (Baumgärtner). [96 phototypes.] MACCOLL (D. S.). The Administration of the Chantrey Bequest. Articles reprinted from The Saturday Review, with additional matter, including the text of Chantrey's will and a list of purchases. (7 × 4) London (Grant Richards), is. net. SCULPTURE SPIEGELBERG (W.). Aegyptische Grabsteine und Denksteine aus süddeutschen Sammlungen, 11. München. (13 × 9) Strassburg i. E. (Schlesier & Schweikhardt). [25 phototype plates and lithographed text (83 pp.).] EDGAR (C. C.). Catalogue général des Antiquités Egyptiennes du Musée du Caire: Greek Sculpture. (14 × 10) Leipzig (Hiersemann), 40 fr. [32 plates.] METAL WORK GARDNER (J. S.). Old Silver-work, chiefly English, from the xvth to the xvinth centuries. A catalogue of the collection exhibited in 1902 at St. James's Court, London, supplemented by some further specimens. (16 x 12) London (Batsford), 5 gs. net. [120 phototype plates.] MURPHY (B. S.). English and Scottish Wrought Ironwork: a series of examples of English ironwork of the best periods, together with most of the examples now existing in Scotland, with descriptive text. (22 × 15) London (Batsford), 3 gs. net. [80 plates.] ROBERTSON (W. B.) and WALKER (F.). The Royal Clocks in Windsor Castle, Buckingham Palace, St. James's Palace, and Hampton Court. (10 x 7) London (J. Walker, 63 New Bond St.), 2s. 6d. [Illustrated.] MISCELLANEOUS ALMACK (E.). Bookplates. (6 × 4) London (Methuen), 2s. 6d. net. 'Little Books on Art.' [41 plates.] EMANUEL (F. L.). The Illustrators of Montmartre. (7×5) London (Siegle). The Langham Series.' POPPELREUTER (J.). Der anonyme Meister des Poliphilo: eine Studie zur italienischen Buchillustration und zur Antike in der Kunst des Quattrocento. (12 × 8) Strassburg (Heitz), 4 m. [25 illustrations.] JOSTES (F.). Westfalisches Trachtenbuch, die jetzigen und ehemaligen-westfälischen und schaumburgischen Gebiete umfassend. (13 × 10) Leipzig (Velhagen & Klasing). [Over 200 pp., and 280 illustrations, many in colours.] FAVEROT DE KERBRECH (Gen. Baron). L'Art de Conduire et d'Atteler: autrefois-aujourd'hui. (15 × 11) Paris (Chapelot), 60 fr. [Plates, some coloured.] BOOKS RECEIVED THE PRADO AND ITS MASTERPIECES. By C. S. Ricketts. Archibald Constable & Co., Ltd. Price £5 5s. net. BRYAN'S DICTIONARY OF PAINTERS, VOL. III., H-M. Revised by George C. Williamson. G. Bell & Sons. Price 218. net. IMPRESSIONIST PAINTING. By Wynford Dewhurst. George Newnes, Ltd. Price 25s. net. LIBER STUDIORUM. J. M. W. Turner. George Newnes, Ltd. WILLIAM ADAMS-AN OLD ENGLISH POTTER. By William SHAKESPEARE, in 4 Vols.: Tragedies, Comedies, Histories, and THE ARTIST ENGRAVER. 7s. 6d. net. ADVENTURES AMONG PICTURES. Black. Price 7s. 6d. net. By C. Lewis Hind. A. & C. SIX LECTURES ON PAINTING. By George Clausen. Elliot Stock. Price 5s. net. SLINGSBY AND SLINGSBY CASTLE. By Arthur St. Clair Brook, M.D. Methuen & Co. Price 7s. 6d. net. MANUAL OF ITALIAN RENAISSANCE SCULPTURE. By Benjamin Ives Gilman, Secretary, Museum of Fine Arts, Boston, U.S.A. THE LIFE OF AN ACTOR. By Pierce Egan, with Coloured plates by Theodore Lane. Methuen & Co. Price 4s. 6d. net. LITTLE BOOKS ON ART-BOOKPLATES. By Edward Almack, F.S.A. Methuen & Co. Price 2s. 6d. net. LITTLE BOOKS ON ART-GREUZE AND BOUCHER. Cyril Davenport, General Editor. Methuen & Co. Price 2s. 6d. net. LITTLE BOOKS ON ART-VELASQUEZ. By Wilfrid Wilberforce and A. R. Gilbert. Methuen & Co. Price 2s. 6d. net. LETTERS OF HORACE WALPOLE. Edited by C. B. Lucas. George Newnes, Ltd., price 3s. 6d. net. THE KNIGHT OF THE TOWRE. By G. de la Tour Landry. Edited, with glossary, by G. B. Rawlings. George Newnes, Ltd. Price 3s. 6d. net. net. ASK MAMMA. By R. S. Surtees. Methuen & Co. Price 3s. 6d. Les Débuts de l'ART EN ÉGYPTE. By Jean Capart. Vromant & Co. A GUIDE TO ENGLISH POTTERY AND PORCELAIN in the department of British and Mediaeval Antiquities. By order of the Trustees of the British Museum. Price Is. STANDARD OF TASTE IN ART. By E. S. P. Haynes. Elkin Mathews. Price Is. THE LANGHAM SERIES OF ART MONOGRAPHS. The Illustrators of Montmartre. By Frank L. Emanuel. A. Siegle, London. Price Is. 6d. net. Auguste Rodin. By Rudolf Dircks. A. Siegle, London. Price Is. 6d. net. Colour Prints of Japan. By Edward F. Strange. A. Siegle, London. Price is. 6d. net. HISTORY AND DESCRIPTION OF ENGLISH EARTHENWARE AND STONEWARE. By William Burton, F.S.C. Cassell & Co., Ltd., London. Price 30s. ANARCHISM IN ART. By E. Wake Cook. Cassell & Co., Ltd., THE GOLDEN TRADE. By Richard Jobson, 1623. E. E. Speight MAGAZINES RECEIVED L'Arte, Rome. Revue de l'Art Chrétien, Lille. La Rassegna Nazionale, Florence. InterLe Correspondant, Paris. nationale Bibliographie der Kunstwissenschaft, Berlin. La Chronique des Arts, Paris. Onze Kunst, Amsterdam. Gazette des Beaux-Arts, Paris. The Weekly Critical Review, Paris and London. Neues allgemeines KunstlerLexikon, Austria. Baconiana, London. La Pologne, Paris. The Rapid Review, London. La Belgique Contemporaine (No. 1), Brussels. La Revue de l'Art, Paris. Repertorium für Kunstwissenschaft. Sztuka (No. 1), Paris. De Nederlandsche Spectator, 's Gravenhage. Notes d'Art et d'Archéologie, Paris. Persisch Islamische Kunst (Friedrich Sarre, Berlin). Koniglich Preussischen Kunstsammlungen (Friedrich Sarre, Berlin). CATALOGUES, ETC. Vincent Van Gogh, Tableaux Aquarelles-Dessins. Editor Ant. W. M. Mensing. Frederik Muller & Cie., Amsterdam. Josef Israels Reis in Spanje Aquarel en Zestig Teekeningen. Frederik Muller & Cie., Amsterdam. Collection J. L. Munjser, 25 Euvres de Josef Israels, Frederik Muller & Cie., Amsterdam. Porcelains, Tableaux Anciens, Faiences, Étoffes, Meubles, Bronzes, Pendules, Lustres, Perles, Argenterie, Armes. Frederik Muller & Cie., Amsterdam. My Lady's Favour (a one-act Comedy). By Mary C. Rowsell and E. Gilbert Howell. Samuel French, Ltd. Price 6d. net. A collection of nearly 500 pictures and drawings, originally destined for the St. Louis Exhibition. As indicated below, the exhibition contains a number of interesting modern pictures. It will be open on Sundays (3 p.m. to 6 p.m.) as well as on week days till July 23rd. The Royal Academy. Summer Exhibition. (See below). The Royal Society of Painters in Water-Colours. Works by Costa. The Royal Institute of Painters in Water-Colour. Exhibition of Sketches and Studies. The Royal Society of British Artists. The New Gallery. Summer Exhibition. Sienese art. Dudley Gallery Art Society. (See below.) Exhibition of Earl's Court Exhibition of modern Italian Art. This contains seven pictures by Segantini. Applied Arts Galleries. Norfolk Scenery by Miss C. M. Nichols. John Baillie's Gallery. Drawings by Walter Bayes. Paintings by Charles Agard. Monotypes by A. H. Fullwood. Carfax & Co. Paintings and Water-Colours by the Hon. Neville Lytton. Carlton Galleries. Exhibition of Works by Old Masters. (See below.) C. J. Charles. Exhibition of Garden Ornaments. P. & D. Colnaghi. Collection of important Early English and other pictures, in aid of King Edward's Hospital Fund. Until the middle of the month. (See below.) Dickenson's Galleries. Water-Colours by Sophia Beale. (To July 9.) Doré Gallery. Political Cartoons by F. Carruthers Gould. Water-Colours by W. S. S. Tyrrwhitt. Dowdeswell Galleries. Water-Colours, 'Along the Riviera,' by H. S. Tuke. Work in Gold, Silver, Bronze and Enamel by Alexander Fisher. Fine Art Society. Eighteenth Century Engravings and Drawings of Hampstead and Highgate and District. Water-Colours of Egypt, by J. Talbot Kelly. R. Gutekunst. Prints by Old and Modern Masters. Leicester Galleries. Drawings for Punch' by L. Raven Hill. Water-Colours by W. Lee Hankey. T. Maclean. Spring Exhibition. Modern Gallery. Pastels and Water-Colours by L. G. Obach & Co. The Peacock Room, by J. M. Whistler. Shepherd Bros. Exhibition of Pictures by Early British A. Tooth & Sons. Spring Exhibition. E. J. Van Wisselingh. English, French, and Dutch Pictures. (See below). Vicars Bros. Mezzotints by J. B. Pratt. (To July 16.) Manchester: City Art Gallery. Exhibition of Water-Colour Drawings. Bradford :Cartwright Memorial Hall. Inaugural Exhibition. The most interesting and important of the English provincial exhibitions. It was designed to show the historical development of British painting, engraving, and furniture, and though some departures have been made from the original scheme, the collection is still fine and singularly well arranged. An illustrated article on the series of specimens of English furniture contained in it will appear in the August number of the BURLINGTON MAGAZINE. GREAT BRITAIN-continued. Rochdale : Corporation Art Gallery. Byron Cooper's collection illustrating Tennyson's country. (July 2 to Sept. 30.) Musée des Arts décoratifs and Bibliothèque Nationale. Exhibition of French Primitives. A preliminary notice of this most important and interesting exhibition appeared in the April number of THE BURLINGTON MAGAZINE, and longer illustrated articles by Mr. Roger Fry are published in the present and June numbers. Musée Galliera. Exhibition of Lace. Petit Palais. Exhibition of Egyptian objects brought from Antinoë by M. Gayet. Serres du Cours la Reine. First Salon of the Comité de l'École Française. (June 20-July 20). Belgium: Namur. Fine Art Exhibition (June 26-August 31). GUILDHALL ART GALLERY: *11-20. Paintings by C. H. Shannon. 210. Dresden Shepherdess. Miss E. M. Monsell. 227 etc. Drawings by H. B. Brabazon. 254. Three Blind Men. William Orpen. THE ROYAL ACADEMY: 9. Mrs. W. Russell. Walter W. Russell. 43. Wind on the Hill. Frank N. Shepard. 78. The Blue Veil. George Henry. 89. The Lyric. W. Q. Orchardson, R.A. 105. Sussex: by the Sea. W. H. Bond. 130. St. Francis of Assisi. Frank C. Cowper. 158. A Literary Clique. G. Ogilvy Reid. 172. The Bridge. Arnesby Brown. 175. The Countess of Lathom. John S. Sargent, R.A. 176. Golden Dawn. Walter Donne. 179. Lilian. G. F. Watts, O.M., R.A. 194. The Rt. Hon. J. Chamberlain. H. von Herkomer, R.A. 195. Full Moon and Spring Tide. J. Farquharson, A.R.A. 196. Departure of Lancaster. Frank Brangwyn, A.R.A. 204 The Slide. Claude Hayes. 222. Diana of the Uplands. Charles W. Furse, A.R.A. *253. Sir Samuel Montagu, Bart. W. Q. Orchardson, R.A. 281. Lorna and Dorothy Bell. J. J. Shannon, A.R.A. 286. An Autumn Evening. J. Coutts Michie. 296. The Errant Hen. H. H. La Thangue, A.R.A. *301. Mrs. Wertheimer. John S. Sargent, R.A. 329. T. L. Devitt, Esq. John S. Sargent, R.A. 343. A Sussex Farm. H. H. La Thangue, A.R.A. 362. A Frosty Night. George H. Boughton, R.A. 424. En Voyage. Antonio Mancini. 452. A Lane at Little Easton. Frank Carter. 531. Miss Thea Proctor. George W. Lambert. 545. The Mill Stream. Mark Fisher. 600. The Shepherd and the Goat. A. G. Stoppoloni. 639. The Farm Girl. Campbell L. Smith. 677. Mrs. W. Onslow Ford. W. Onslow Ford. 682 The Blue Pool. Adrian Stokes. THE ROYAL ACADEMY-continued. 697. Tristran and Iolanthe. Andrew W. Turnbull. *798. The Old Barge. Edward Stott. 816. The Old Mill. Laura Knight. 861. The Elevation of the Host. Glyn W. Philpot. 906. A Sleeping Village. James G. Laing. 1038. Mother Goose. Arthur Rackham. 1067. My Little Model. Katherine Righton. 1377. John Herkomer. Frederick Beaumont. 1402. The Green Ribbon. Mary A. Williams. 1418. A Yorkshire Hayfield. Frank Short. 1667. Labour-Statue, bronze. Alfred Turner. 1670. Maternity-Group, bronze. Alfred Turner. 1701. Portrait medallion. Margaret Winser. 1842. Physical Energy. G. F. Watts, O.M., R.A. THE GRAFTON GALLERIES: 113. Widowhood. Edith E. Lumley. 156. The Children's Hour. J. Young Hunter. DUDLEY GALLERY: 59. Grey Weather. J. Paul Brinson. 278. Loch Lochy, Inverness-shire. D. E. Bailey. CARLTON GALLERIES: I, 2. Tavern Scenes. P. de Laar. 2. A Country Lane. R. P. Bonington. *11. Lady Mary Bagot. J. Hoppner. 16, 17. Portraits. G. Romney. MR. E. J. VAN WISSELINGH: 2. Ondine. Fantin Latour. 4. Don Quixote. H. Daumier. *6, 8. Views at Brighton. C. Conder. 7. Bessborough Street. A. A. McEvoy. *11-13, 18. Paintings by C. H. Shannon. 17. Sheep in an Orchard. Mark Fisher. *20, 21. Paintings by C. S. Ricketts. *22. Spring. Monticelli. EDITORIAL ARTICLES NO CRITIC NEED APPLY F the personal questions involved in the appointment to the curatorship of the Walker Art Gallery we have no knowledge. The facts are that the Art Committee of the Liverpool Corporation first selected three out of the sixty-two applicants for the position and then recommended one of the three to the corporation for appointment, but the corporation refused to accept the recommendation and referred the matter back to the committee. On these facts we make no comment; but we cannot pass over the strange objection that was made by one member of the committee to a certain candidate (one of the selected three), particularly since the objection seems to have weighed with the committee and to have affected its recommendation. The objection was that the gentleman in question was an art critic. A critic,' said the objector, is usually a faddist; he would probably look to one side of art only, and would perhaps "come across" the committee of the Council.' In plain English the curator must not know more about art than the committee lest his opinion should clash with theirs. The objection is a striking instance of the dislike of learning and intellect which seems to be fast becoming an English characteristic. There is no civilized country, at any rate in Europe, where a man who knows or thinks too much or who has any higher standard than the man-in-the-street, is so generally suspected and overlooked. This is one reason why literary and artistic criticism in this country has for the most part degenerated into shallow and undiscriminating adulation, until any attempt to discriminate is resented as an insult by the majority of people and attributed to spite or faddism.' It will indeed be lamentable if the appointment to the curatorship of so important a public institution as the Walker Art Gallery is nullified by so stupid a prejudice. Who but a man possessing the critical faculty with the requisite knowledge to back it can possibly be trusted in such a difficult and expert business as the purchase of works of art ? If the Liverpool Corporation is wise it will appoint such a man, whoever he may be, will make him responsible, and will give him a free hand. We referred last month to the unsatisfactory results of purchase by a committee; the system is bad enough when the committee is composed of experts, and it is no discourtesy to say that the committee of a corporation cannot possibly be so composed. We have sufficient confidence in the common sense of Liverpool councillors to believe that they will recognize that, if a really competent and instructed art critic 'comes across' a committee of business men on the question of the purchase of a picture, the chances are that he will be right and the committee wrong, just as the probability would be the other way if the question at issue related to electric tramways or the water supply. There is only one safe plan in a case like this: to find a man who can be trusted, to trust him completely, and to make him personally and solely responsible for every purchase. If Editorial Articles this were done more frequently some of our municipal galleries might in time cease to be the farces which sorry of them many are at present. THE STATUS OF THE AMERICAN COLLECTOR HE remarkable article which we print in another column seems to show that the effective absorption of the finest works of art by America has been somewhat exaggerated. From his position, our contributor has had exceptional opportunities for watching events. It will be interesting to see how far his opinion is confirmed, as regards pictures, by the elaborate work on famous American collections, of which the first volume is now in the press. or two American collections recently made under expert advice have a world-wide reputation. The remainder, it would seem, have still to prove their claim to impor tance. THE WHITGIFT HOSPITAL One HE Hospital of the Holy Trinity at Croydon, which was founded by Archbishop Whitgift and opened in 1599, is one of the most interesting examples of Elizabethan architecture in existence. It is, moreover, in a splendid state of preservation, much of the original panelling and carving of the interior being still intact. More than one attempt has been made to demolish the building in order to widen the street in which it stands, and in May last a committee of the Croydon County Council reported in favour of a scheme for widening the street which included the destruction of Whitgift Hospital. A motion to exclude the hospital from the scheme was rejected by a large majority. Fortunately the Croydon Antiquities Protection Committee, which was successful four years ago in preventing the destruction of the hospital, has taken the matter up warmly and obtained the support of the Society for the Preservation of Ancient Buildings and other archaeological and artistic societies. On June 13 a deputation headed by Lord Midleton, and representing about thirty societies, attended a meeting of the Croydon County Council to urge the preservation of the hospital, and the matter was referred by the council to one of its committees. It is to be hoped that the opposition to the proposed destruction of a building which is of more than local importance will be successful. We understand that if the Croydon County Council declines to reconsider its decision, the bill to obtain powers for the scheme will be opposed in Parliament; but we trust that the Council will make it unnecessary for this action to be taken, by itself providing for the preservation of the Whitgift Hospital. Croydon is not so liberally endowed with buildings of artistic interest and historical associations as to be able to afford the loss of an architectural monument of which most towns would be proud. The London County Council succeeded in widening the Strand without destroying the two Wren churches which were at first declared to be insuperable obstacles to any improvement, and we are quite sure that the Croydon County Council will be able to widen its street without destroying the Whitgift Hospital. The attempt to destroy it is another illustration of the necessity, on which we have so often insisted, of legislation for the protection of buildings of historical and artistic interest. A NATIONAL COLLECTION OF PHOTOGRAPHS A FEW months ago we called attention to the formation of a society (The Arundel Club) for making a systematic record of works of art in private collections and galleries not generally accessible. As an idea seems to be prevalent in some quarters that the collection of photographs at South Kensington already performs this duty, it is only right to point out that the excellent South Kensington collection is limited in its scope. In lessening those limitations the Arundel Club may do the country as great a service as the National Art Collections Fund bids fair to do in supplementing the public funds for the purchase of pictures. The work of the club should appeal especially to our provincial galleries, which hitherto have culpably neglected the systematic use of photographs as an aid to the study of art. THE FUTURE OF THE CHANTREY TRUST THE House of Lords is to be congratulated on the promptness and good sense of its action as regards the Chantrey Bequest inquiry. The report of its committee will, we hope, be sufficiently definite in its terms, and sufficiently well backed in prac tice, to remove for ever the misunderstanding which has led to so much trouble. Lord Windsor's suggestion that future purchases should be made by some single responsible buyer seems the right solution of the problem, so long as the committee can ensure that the holder of so invidious and difficult a post is a critic of real temperate insight, and is as free as any human being can be from personal or party bias. As Lord Lansdowne pointed out, the committee is hampered by no limitations in its inquiry, so that it has every chance of making recommendations which will secure a proper and final settlement. |
