Evening Star Newspaper, March 19, 1922, Page 68

3 -Spain and other parts of old Europe AMERICAN BY CROSSLEY - DAVIES. i PARIS, March 9, 1922. American in Paris possessés a house to which the oft- misused word “antique” can = be truthfully applied. That nhouse has been nineteen years in the building. or rather #he rebuilding, and is now on the point of comple- tion. The American.who owns it is Herbert Haseltine, the sculptor, im- itating, perhaps, the crafty uncle of Aladdin, who bought old lanfps for 3ew: and, evoking the same genii to trangport from the heart.of Paris a dwelling centuries old, this.ingenious and resourceful craftsman has ac- complished the seeming impossible. Mr. Haseltine is not only an artist of genius whose work is known throughout the civilized world, but also is an ardent collector and con- nolsseur of curios. During his service in the American Army and in his previous travels through France, he managed to plck up a wonderful collection of the knick-knacks that| are so dear to the heart of the artist. Not forgetting the many: little tricks of the trade that he had learned in the camouflage section of the-Ameri- can Army, the sight of some work- men at. Rouen demolishing an old 15th century house immediately gave him_the original idea of buying all the old material, transporting it to Paris, and bullding himslef, with this and other materials that he had been collecting for more than nine- teen years, not a new house, but an old one. ok x % E has succeeded so well that a stranger suddenly transported to the dwelling would imagine himself not in Paris, but in some obscure lit- tle village of Normandy. In fact, everything has been done by Hasel- tine to obtain the effect not of a house set up as an exhibition, but of a house that belongs just where it is —a dwelling that grew on the spot with the passing of the centuries. To obtain this effect the sculptor used only originally old material. The red tile roof seems to be in immedi- ate danger of caving in in the mid- dle, the walls slant at a dangerous angle, as they do in many very old houses, and the rafters are black. seemingly with the smoke of ages. To obtain this smoked effect Hasel- tine burned green wood and rubbish in the open fireplace and stopped up the chimney. When he opened the windows the next day he was obliged to put on his gas mask, but it.was worth it. From the outside the house itgelf is very hard to find. Indeed, one may pass and repass the little blind alley bordered by a bleak wooden fence, upon which is inscribed -in faded let- ters, “Impasse Raffet” without &6 much as dreaming of the treasures concealed within. The sculptor tells tho story of a very rich .client who stepped out of her automobile to pay him a visit, but who turned up her nose at what she considered a “dirty, old alley,” and refused to permit her dainty feet to proceed up the stony, unpaved incline that led to the mas- terpiece within. Despite this misad- venture Haseltine wouldn't exchange the house for its weight in gold. The first sight of this curious manor immediately gives pne an impression of oldness. This is obtained by the great Gothic door dating from the latter part of the fifteenth century, which Haseltine had found at Avig- non, and the forbidding iron grills on the small prisonlike window that the sculptor had picked up in Spain, EEE HE front entrance reminds one strangely of some ancient abbey, such as that at Mont Saint-Michel, for instance, but as thé creaky, old door clanks shut upon its heavy hinges the monasterial illusion is im- mediately superseded by the quiet beauty of the inner court, wherein is situated the wing that comprises the old’ Normandy house, reached by an K 7 o ARTIST TRANSPORES - MANOR HOUSE FROM NORMANDY TO PARIS ONDERFUL Fifteenth .Century Man- ) sion Taken From Rouen and Rebuilt in French Capital by Herbert Haseltine, Scu]ptor—House of "Old",Throughout. and Evety Room Is Considered a Gem—Filled With Curios Picked Up in Nineteen Years of Travel Throughout Europe—Gen. Pershing a i Guest of Sculptor. turnished in the style of the eight- eenth century. He also has a library furnished in the vogue popular at the time of Louis XIV, each room be- ing an individual gem. All in all, the house, as well as the spirit in which | it was executed, is, to say the least, unique in Paris. " Before he left Paris on his last visit| to_the French capital, Gen. Pershing, | accompanied by Col. T. Bentley Motte, ‘military attache at the Amer- ican ‘embassy, called informally at the studio of Haseltine, who in col- laboration with Jo ~Davidson, had' completed an equestrian statuette of the general that had been ordered shortly after the armistice by Mrs. Borden Harriman, who had collected $5,000-for the purpose from admirers Jo Davidson is well known in America for his execution of the por- traits in bronze and marble of many of the world’s modern great, among them being 2 bust of Gen. Pershing, for which the latter sat Immediately after the armistice, and which later was incorporated in the equestrian statuette upon which Haseltine col- laborated. He has also designed the 1st Division monument, five repro- ductions of which have been set up on the sites of the battieflelds over which - the famous dlvislon liad fought. Each of these monuments has been inscribed with the names of the dead who' fell in the immediate vicinity, thus immortalizing them for- ever. The total names inscribed reaches 5,300. T 2 THE 'SUNDAY STAR, g - WASHINGTON, ENTIRE " Salon des Artisies Francais, the Royal Academy, London, and at the international- exhibitions in London, Venice, Br: Ghent, etc., between the years 1906 and 19147 In 1906 he receiyed honorable mention at the salon for his group “Riding Oft." In 1908 he was commanded by the late King Edward VII to execute & bronse of his charger, Kildare, and in 1909 he went to America to make & group of the ‘“Meadowbrook team,” winmer of the international polo .cup that year. * Kk X X ' 1S bronze, “Un Puyazo” was pur- chased by the museum of the Hispanic Soclety of America, and in 1914 he received a commission from the museum to execute an equestrian statuette of the King of Spain. This was begun in Madrid in the late spring of that year, and was shown as a sketch in London, together with Haseltine’s other works at an exhi- bition he held there in June and July. Work wa's then interrupted by the war, as during 1914-16, Haseltine was attached to the American embassy in Paris. When America entered the war he joined the American Army, where he was one of the first organ- izers of the camoyflage section. In 1920 he held an exhibition of all his pre-war and post-war work at the Gallery Georges Petit, in Paris. | The *“Field Artillery” group was HERBERT HASELTINE, THE AMERICAN. SCULPTOR, AT THE DOOR OF HIS MANOR “HOUSE, WHICH HE TRANSPORTED FROM THE HEART OF NORMANDY TO THE HEART OF PARIS. THE GOTHIC DOOR DATES FROM EARLY IN THE FIFTEENTH CENTURY. ~ . of the American commander-in-chief. This statuette will be cast in brohze and presented to West Point. * % * ¥ GE™ PERSHING was greatly pleased with the little figure, which presents him erect upon a| spirited charger marching forward. It had been the original intention of the sculptor to have the horse stand- ing at rest; but, remembering Gen. Pershing’s motto, “Ever Forward, he changed its attitude accordingly. A special photograph, autographed | by the two sculptors, and suitably framed, will be presented to Gen. Pershing as soon as the statuette is | on its way to America. Mrs. Borden Harriman recently Visited Paris to arrange for the cast- ing of the statuette in bronze and its shipment to America, but unfortu- nately Haseltine happened to be in | IT 1S no exaggeration that Jo David- son is one of the most remarkable personalities of the art world today. From the bottom rung. he has climb- ed to the topmost, and his achieve- ments are known everywhere. His series of busts of famous mén is unique, and besides that of Pershing, includes those of ex-President Wil- son, Col. House, Clemenceau, Marshal Foch, Balfour, Gen. French and Lord Robert Cecil. More and more, as time 4 goes on, will these portraits become important, done as they were at the moment when the men were guiding the world's destiny through its most critfeal period. : Through the medium of his own re- sorbed those of the great men Wwith whom he was brought into contact. Then, with marvelous ability, he translated them into the medium of art. In his bust of the ex-President London at the time, where he was we see a man worn with the respon- markable personality, the sculptor ab- | shown under the name of “Le Soix- antequinge.” “Les Revenants” rep- resenting gaunt, gassed, wounded and worn-out horses réturning from the front, made a deep impression on all who attended the exhibition, and was purchased by _the French government for the Luxembourg Museum. Through the kindness of the Duke of Alba, and of Don Antonio Miura, the breeder of Spain’s most celebrated fighting bulls, Mr. Haseltine was able jto work for several months at the latter’s “ganaderia”; and his splendid bull-fighting groups are the result of this minute study of the best types. The sculptor's latest work Is the execution of a plaster model of King George of England's famous cham- ‘plon Shire stallion, Field Marshal V, whose splendid form and massive build are the admiration of every horse lover. Many who had admired the ex- pressive group of war-wounded giving 'an exhibition of equestrian | sibilities of a great state during a|horses by Herbert Haseltine in the INNER COURT OF HERBERT HASELTINE’S NORMANDY MANOR IN PARIS. IT IS REACHED BY AN ARCADE OF OLD WOODEN PILLARS, AT THE END OF WHICH, HIDDEN UNDER THE OUTSIDE STAIRCASE, I8 AN OLD FOUNTAIN. arcade of old wooden pillars, gnarled and worm-eaten, at thegend of which, hidden _under the .outside staircase, built on the early seventeenth century style, is an old fountain of the same period Over the staircase hangs an old Paris street lantern which dates from the revolution. At a glance one | would never think of associating it with the gruesome history that tinged its supporting bars with the blood of the aristocrats who were hung from | it. At oné time the crude figure of the person who had thus been put to death was painted upon the glass panes 'of the lantern, but these had since been broken. . In order that this luglbrious souvenir may resume its original aspect, it {s the intention of Mr. Haseltine to reproduce these fig- ure§ as closely as possible after original designs. Besides the ancient room with the open fireplace, whigh the sculptor will arrange as a living room, where he may do his own king with' old utensils, he-has a dining room in an opposite wing that is' paneled and portraits in bronze, including his famous war, polo, racing and bull- fight groups. in aid of the Marchio- ‘mess of Carisbrooke's “Totally Disa- bled Soldiers’ 'Embroidery Industry.” Davidson, who had undergone a serious’ operation, was at the time recuperating at a small French sea- side town. Unable to get in touch with either of the sculptors, Mrs. Harriman left Paris for America the -very day that Haseltine returned from Imndon, his telegram advising her of his coming. having arrived too late to forestall her departure. It is the hope of the two sculptors that a large reproduction of the stat- uette will be set up in-some large American city, preferably Washing- ton, in honor of Gen. Pershing, de-. spite the prejudice that exists in America against the setting up of statues to its living great. The artists feel that this prejudice may bé overcome in view of the precedent made in France when Clemenceau in- augurated his own statue. critical period. The portrait of Mar- shal Foch is equall® remarkable. ‘With great knowledge and skill the sculptor has given the figure of that famous soldier, who, when all Eu- rope thought that the day: was' lost, alone knew that it had been won; his breadth of 'comprehension, the steadfastnéss of purpose and humili- ty that characterize the man. The sculptor’s most masterly pro- duction, however, is his heroic statue of ‘the American doughboy, which will be set up as a permanent monu- ment at the American cemetery in France, Suresnes, Whosé lordly heights overlook the Seine,” 'which flows tranquilly on to the.sea, carry- ing on its currents that mingle with the waves of the Atlantic & message of everlasting gratitude to the vacant firesides of the men that sleep their last.along its banks. Herbert Haseltine, who was born in Rome in 1877, of American pafents, ‘was the pupil of the late Aime Morot. A number of his bronzes and plaster models have been exhibited at the Luxembourg Museum, did not fail to visit the exhibition given by the sculptor several weeks ago at the IG.Bllery Georges Petit, which shared the immense success that he had won at his previous exhibition in the same gallery in 1920. Here he again showed his remarkable talent for the portrayal of animals in bronze. In the “Revenants, the original model of which was on view in this exhibition, Haseltine has succeeded in conveying the pain and the agony iof the poor dumb creatures as they were led away from the battleflelds, crippled .and lacerated, to be de- istroyed and forgotten. No more elo- quent memorial to the silent suffer- ing of the thousands of horses that perished in the war could be imag- ined than the bronze group in which the American sculptor has immor- talized a vision with which war vet- erans are 8o familiar. * * % HASELTINEy although an Ameri- can by birth and sentiment, has worked and lived in Paris for many years, during which time he has suc- ceeded in building “one of the oldest houses in Paris” as his abode. His studio is at 4 Rue du Docteur- Blanche, in that section of Paris known as Auteuil, the garden spot of the city, sumrounded on all sides by beautiful villas and large estates, and his fifteenth century house, which he had brought up bit by bit from Rouen, is but a few blocks away, at 20 Impasse Raffet, just off the Rue Raffet. A misadventre has sometimes the | happlest of consequences. If the usual facilities for lighting Haseltine's spacious studio had not gone wrong late on a gray Paris afternoon there would probably have been no chance to sec his statues by the weird and flickering illumination of an oil lantern and to watch the strange fig- ures of heroic size promenade across the white surfaces of high walls. The equestrian statuette of Gen. Pershing, a figure that Americans will like to, see when the world war is a matter of remote history, loomed large in the shadow it cast upon the wall; and one ‘could not help but wish that it could be cast in bronie to equal its gigantic proportions, a fine, dominating figure of America’s mili- tary leader, to stand on ‘the cliffs above the Hudson. - —_— Among American women who have been honored. with membership. in the varioud royal orders of Europe were Mrs. Lew Wallace, Wife of the author of “Ben-Hur,” and Mrs. “Sunset” Cox, wife of the New York statesman, both of whom were @ecorated by the sultan with the Turkish Order of Chefakat. o e St L S I et D. C, MARCH 19, 1922_PART 4. A serles of etchings, seven in num- ber, entitled “The Dance of Death, 1914-1918," by Percy Smith, a member of the Print Soclety of England, is now on exhibition tn the print divi- slon of the Library of Congress. This series graphically presents the grimness of warfare, and depicts death, not as the friendly messenger of man, but rather as_ the ruthless destroyer of all life. It is imagina- tive In the extreme, and at the same time teohnically fine. - The- titles of the meries are as follows: ‘“Death " “Death Ponders” and “Death Intoxicated.” ' Walits,’ " As Campbell Dodgson, in an article in the Print Collectors’ Quarterly, has sald, “ ‘The Dance of Death, 1914- 1918, 1s not a pretty set of etchings. but it 1s one of the most serious and memorable works of art inspired by the war. The series, long enough and not too long, is the result, evi- dently, of concentrated thought by one who has witnessed and shared in the horrors of- war and has been moved by them to this powerful and serious effort of interpretation. Such horrors gre past. for a time, if not forever. But they are a lawful sub- fect for art, and the earnestness and tragic dignity with which Percy Smith has handled so grim a theme 1t his set of etchings altogether out of the region of the commonplace.” Of this serles of etchings another distinguished English writer has made the following comment: “The symbolic personification -of death in finite guise, which has occupled the attention of so many famous artists throughout the ages, has rarely been given & more original interpretation than In the series of etchings by Percy Smith. The artist appears to have freed himself from the tradi- tion of Holbein. Percy Smith’s crea- tions are more benign in feeling, if not less terrible in aspect. He por- trays the figure of Death at the war, now presiding In grave majesty over various incidents of the battlefleld; now pondering whether to let a vic- tim escape his almost certain doom, marching with troops, madly exult- ant with the sladghter which pro- ceeds on every side, until at last even Death is awed by the evidence of his own unwearied labors. The scenes are marked by deep spiritual perception on the part of the artist, and epitomize the horror and devasta. tion of the war with a strength and lection has been show: =0 i net. Wooden amplifier. Unive playing any record: and 20 inches wide. ' | abinet record. dancing. | I This Sheraton console, $89 | Not_an assembled machine—but a complete Consol phonograph. - Mahogany veneered ‘nickel trimmings. sections for filing records; extra strong two- spring motor. Cabinet is 36 inches tall; 36 long This phonograph, $39 Lowest price yet known for a onograph. Plays any 'wo-spring silent ‘motor. Dark mahogany-finish cabinet, mounted on casters so that one san push it out of the way for conviction which (have ,seldom been excelled In pictorial art. “Percy Bmith works with a fluent needle, attaining his results without apparent labor, and, while obtaining strong contrasts. of light and shade, avolds any exaggeration or straining after meretricious effect. His etch- ings are th¢ work of one who has felt deeply and possesses adequate craftsmanship to put his conceptions into strong, telling and facile line.” A complete set of proofs has been bought by a collector, R. A. Walker, and presented to the British Museum, and the Albert and Victorla Museum has purchased.a set. The set now on view in the Library of Congress has been lent by the etcher through the American Federation of Arts. The edition is limited to 100 signed proofs. * ok ok K Charles Hopkinson's exhibition at the Corcoran Gallery of Art has been augmented by a portrait of Drf, Henry P. Walcott, lent by the Massachusetts General Hospital, which unquestion- ably strengthens the exhibition as a whole. In many ways this is one of the most interesting one-man collections shown here. The work is typical of the atmosphere, the ideals, the char- acterjstics of New England, and though Mr. Hopkinson’s art is dis tinctly bullt on tradition, it is in no wise colored by the influence of the foreign schools. His technique is in almost every instance extremely free, his color is brilliant, though never blatant, but from first to last in all of his paintings one is consclous of what may be termed a distinguished restraint a dominance of the intellectual over the sensuous. Mr. Hopkinson is one of those who have studled color scientificall.. The color scale has interested him. He has in his studio a revolving disk which automatically reveals the ex- act tone which' & given color "takes on In shadow. Thus he not only paints what he sees, but he confirms his sight by actual demonstration and the application of scientific principles. This, in the present day of hit or miss, of short cuts to desired results, is extremely unusual. traits are all carefully studled and sRilfully rendered according to the best traditions without digplay of technical skill on the part of the artist and without intrusion in even the slightest measure of the artist's personality. And yet Mr. Hopkinson can be extremely individual in his manner of rendering at choice. His portrait 6f Mrs, Shurtleff in the present exhibition is quite out of the ordinary, and the landscape theme which he has chosen &s background is rendered in an almost post-impres- sionistic manner. Again, his portralt of Mr. and Mrs. Charles D. Norton's litle son is extremely unconventional —the olive tint of the sun-tanned face, hands and Jegs being intens! fled by the white background of the stucco wall, and the pose, while véry 'boyish, being quite unusual in a pic- ture, the 1ad standing with one foot on top of the other. The visitor tq this exhibition is not consclous of its colorfulness until re- turning to the room in which is hung the Corcoran Gallery’s collection o early American works, which for the moment by comparison seem to be reduced to the colorless, or almost colorless, appearance of monotints. “We have not a great number of distingulshed portrait painters today in America. Few, indeed, can com- pare with the portrait painters of the late eighteenth and the early nineteenth century. An exhibition of this sort, therefore, 18 all the more notable. * ¥ K X The Southern Arts Association, which is a little more than a year old, will hold its second annual ex- Libition and conference in Memphis, Tenn., the latter part of April. The exhibition will be in the Brooks Memorial Art Gallery, under the charge of Miss Florence Mclntyre, chafrman of the exhibition committee. The conference will be in the Twentleth Century Club, and wiil be attended by representatives of art museums, clubs and associations throughout the south. The purpese of the association is to create greater patronage for. southern artists and to increase among the people of the south a more general appreclation of cotemporary art. Artists in Wash- ington and Baltimore will be given place in the exhibition. Entry blanks may be obtained from Miss McIntyre. * % % The Soclety of Washington Artists announces its thirty-first annual ex- Mr. Hopkinson's contributions 10| ypiyion, to be held in the Corcoran the national portrait collection have|g oot 02 08 BF 0 W D GORRT universally won praise. distinguished collection found only favor wherever the col- These po! They are inclusive, varnishing day and "ess perhaps the only paintings in that|yjew Friday, Avrll't from mw that have|to 4 p.m. am. The exhibition will consist of oil paintings and sculpture not previously hown in Washington, and’the e The Anniversary Sale features a sale of type PHONOGRAPHS —Portable phonographs for as little as' $19. —Full-size cabinet instruments at $39. own factory. cabi- tone arm for Four are gome. One whole year in which to pay - Sends any of these phonographs to your home one’s country home. —Console phonographs, complete units, at $89. Notably worthy among these phono- graphs is the EMERSON. Scores of different phonographs have come forth in recent years—made up of various parts on which the patent had expired—musical makeshifts. - The Emerson, however, is a distinct invention, comparable with the few really high-class phonographs made—a magnifi- cent instrument; made complete in its At these prices because the Emerson Co. is now devoting all its time and capi- tal to the production of records. more Emersons at these prices when these No Free! 10 selections “late hits,” of your own choosing Five full 10-inch double disc records with two selections to each record with any phonograph selling at"$59 and up. This portable phonograph, $19 _Handsome mahogany finish case, wooden sound box; plays any record. Ideal for camp and summer trips or to take to by - The Hecht Co. Seventh at F » without the five cases for filing records. hibition will not be limited to local ‘work. Two prizes are offered, the first a sHver medal and the second a bronze medal, for the two best pictures shown. The jury of selection wliil consist of the officers of the executive committee of the soclety, composed as follows: illlam H. Holmes, pre: ident; Miss Sarah Munroe, vice presi- dent; Miss Annie D. Kelly, treasurer. and Herbert F. Clark, secretary. The executive committee is composed of Edgar Nye, Miss-Clara Saunders, A H. O. Rolle. Richar@.D. Engel and Benson B. Moore. k%% An exhibition of modern etchings and engravings is being held by the American Academy of Arts and Let- ters in its galleries, 15 West B81st street, New York. The exhibition opened last Thursday, and will con- tinue to April 16. This exhibition. which is one of the most extensive and important of the kind that has yet been held in this country, was ae- sembled by u specially appointed com- mittee, consisting of Joseph Pennell. chairman, and Timothy Cole and Childe Hassam. The exhibits have been sent by the etchers and en- gravers and lent by art museums, collectors and dealers. At the opening of the exhibition Mr. Pennell made an address on “Whistler's Work in the Graphic Arts” illustrated by stereopticon sfides. The and Letters, which painters, sculpt American Academy of Awts is made up ot writ- its architects, announces to be given on succe = in March and April, three of which are on the American diplomati service, by former chiefs of diplo- matic missions to Italy, Denmark and Germany, and one by Henry Van Dyke, interestingly _entitled “The Fringe of Words.” These are open 10 members of the academy and Epc- clally invited guests. * ¥ % % Everett L. Warner, formerly of tius city, has been appointed instructor in painting at the summer school of the Broadmoor Acade Colorado Springs, Colo,, and, hav. ccepted will spend the summer in_ Colorad. He is at present in New York mal- Ing a series of paintings of stree: scenes, which he has always rendercs with particular sympathy and skill. * k %k ¥ The Maryland Institute of E: more has been a center of art inter- est this season. Five exhibitions of paintings have been held there—a Joan exhibition of cotemporary Amer- loan painters (Weir, ~Twachtmar. Carlson, etc.). an Abbott Thayer group, a Charreton group, and forty- two canvases by Leon Kroll are now on view. Simultaneously with thesu color exhibitions were shown etchings in groups of fitty by Whistler, Degas and Genoette, from the George Lucus collection, and there was introduced l‘.u the public a new etcher, Eugene Metenr. professor of languages at the Na- val Academy, who seems to be mak- ing a name for himself. These ¢x- hibitions have been attended by 16,000 persons and more than $4,000 worth of fales have been made. i "The school boasts a registration of more than 2,000 pl;rlfls, larl;nol"l’z’:lrl:l;l‘n} re seventy men from the Vel < Bureau LEILA MECHLI aoas NPT YT T Y —¥e 3583 s°%3 228 502s 55 2 » H 3 2 -3 n 5 iz g Ze s ® A Ta £5 g3 32 3 phonograph, $89 All-wood finishes. Mounted on casters, can be moved aside for dancing. Silent motor which plays four records at one wind- ing. Playsanyrecord. Equipped with five sectional cases for filing records. . phonograph, $59 Mechanically the same as above, ut with a smaller cabinet and