Evening Star Newspaper, October 17, 1936, Page 17

THE EVENING STAR, WASHINGTON D.. C., SATURDAY, OCTOBER 17, 1936. PHILLIPS ART GALLERY, REOPENED, HAS UNIQUE STANDING “On the East River,” a lithograph by Nicolai Cikowsky, on ezhibition at the Corcoran Gallery of Art. By Leila Mechlin. HE Phillips Memorial Gallery reopens this coming week after having been closed for over three months. This gal- fery, located in the house on the cor- ner of Twenty-first and Q streets, formerly occupied by Mr. and Mrs. Phillips as a residence, is unique of its kind and has come to hold a place all its own, not only in Washington, | but in the art world at large. Al- though freely open to the public and frankly serving as an educational pur- pose, this is a privately endowed insti- tution, upbuilt and conducted by its donor, Mr. Duncan Phillips, without benefit or hindrance of the customary board of trustees. In a measure it has been an experiment in esthetics and on a generous scale. In assem- bling the works shown therein it has always been understood that they, as well as the public, were on probation. This gallery has no “permanent col- lection”—paintings are bought, tried out in company with other works,. lived with and then perhaps passed on, according to the final verdict of the owner. From the first this has been & collection in the making and such it still is. Mr. Phillips’ original thought was, §f we are not mistaken, to show in Juxtaposition works by the masters of all schools under the conviction that great art of all time is, in spite of superficial differences, akin. And to show such works, not only so they will complement one another, but to the best advantage—beautifully and in informal surroundings—those of the drawing room and library in which congenial setting is provided. No one who has visited the Phillips Memorial Gallery repeatedly since its establishment can feel anything but gratitude for the opportunity it has afforded to study works by the great world painters in such environment. It is & rare privilege. More and more, 1n fact, the little gallery is taking the place in public favor of the great mu- seum with its overwhelming displays. In the Phillips Gallery one has a sense of quiet conducive to contem- plation. In following out his plan Mr. Phil- lips has been especially hospitable to that which is new and untried. In this gallery the works of the most ex- treme of the modernists have been shown—and not merely of those who have attained distinction, but of the | experimenters—even the novices. ‘The great wave of new ideals which has swept the world in this later day, to the dismay and confusion of those who hold to the traditional, has been amply illustrated in the Phillips Gal- lery exhibits. The public has been permitted to view this output and per- sonally evalue it. It should be noted, however, in this connection that that which i vulgar—and much of the new Bulletin of Exhibitions CORCORAN GALLERY OF ART —Permanent collection of American paintings and bronzes; the Clark collection of European art; Barye bronzes, prints and drawings; exhibition of water colors of Spain by Edith Hoyt and of drawings by Nicolai Cikovsky. NATIONAL GALLERY OF ART, UNITED STATES NATIONAL MUSEUM — Permanent collec- tions, Evans, Gellatly, Ralph Cross Johnson, Harriet Lane Johnson and Herbert Ward Af- rican sculptures. Exhibition of International High School Art under the auspices of the Amer- ican Federation of Arts and “Scholastic,” through October 31. SMITHSONIAN INSTITUTION, DIVISION OF GRAPHIC ARTS — Etchings, dry points, aquatints, etc., by contemporary American print makers, re- cently given by the Chicago Etchers’ Society. FREER GALLERY OF ART— Permanent collections Whistler paintings, _etchings, drawings and the Peacock Room; Ori-| ental paintings, bronzes, pottery, miniatures, etc. STUDIO HOUSE — Special ex- hibition of reproductions in color of paintings by old mas- ters and modern artists. TEXTILE MUSEUM OF THE DISTRICT OF COLUMBIA— Permanent collection rugs, tap- estries and other textiles of the Near and Far East. Open Mon- days and Wednesdays and Fri- days, 2 to 5§ pm. Admission by card obtainable at office of George Hewitt Myers, 730 Fif- teenth street. THE ARTS CLUB OF WASH- INGTON—Exhibition of paint- ings by Roger N. Rittase of Washington and pictorial pho- tographs by Cecil Davies of Eng- land. LIBRARY OF CONGRESS, DI- VISION OF FINE ARTS—Ex- hibition of recent accessions; Pennell lithographs; drawings by American illustrators. Ex- hibition of original illustrations by Walter Appleton Clark—re- cent_accessions. PUBLIC LIBRARY, DISTRICT OF COLUMBIA—Main build- ing, exhibition of water colors by Kenneth Stubbs; Mount Pleasant branch, exhibition of paintings by members of the Landscape Club, < art is—has not found admission within these doors. Furthermore, tradition has been upheld and standard set by such masterpieces as El Greco's “Re- | pentent Peter,” Daumier’s inimitable | works, an Eakins portrait and a great | Renoir. Using these as a measure one | cannot go far astray. I'I‘ IS through the medium of this gallery that Washingtonians have | been enabled to gain acquaintance with the painters of the modern schools who have arrived at first place |in current esteem—Cezanne, Van Gogh, Matisse, Picasso and others. It 1s not essential to think that because a painting or other work of art is to be seen in an art gallery or museum its merit is assured or in any way guaranteed. It is, to the contrary, there to be tested—and with it to test ourselves. Only time will tell whether it or we—one or both—may be right. The Phillips Gallery has been re- decorated and to some extent rehung since closing in July after the ex- hibition of work done on the Federal "Art Project of the W. P. A. was shown therein. The arrangement is not ma- terially different from that of the past season. The El Greco, the Daumiers, a Constable and two Courbets, as well as other toneful works, are hung in the library, where are also shown a number of small works in sculpture of notable interest. Over the mantel in the old dining room Rouault’s “Three | Clowns"—inspired by the Gothic| glassmaker's art—has been effectively | placed, its dominant rose color being re-echoed in tiles and window hang- ings. The main gallery above stairs is chiefly given over to the works of con- temporary Frenchmen of the modern school—but the beautiful Egyptian head of centuries past looks on un- troubled and serene. One little gallery contains abstractions by Braque and Picasso; in another six paintings by John Marin, equally difficult for the average visitor to understand, are a dominating feature. In the little room to the right of the stairs, leading to the top gallery, are several paintings by that eccentric genius, Elsli>mius, whose work is purely individualistic and defies clas- sification by school. ‘Water colors are to be seen in the‘ opposite room, to the left, and here | two local artists—Robert Franklin Gates and Richard Sargent—are | given generous representation. | AT THE extreme end of the hall on the second floor, in a small, side- lighted room, may now be seen the painting by Walter R. Sichert, a well- known English artist, of “Queen Vic- toria and Lord Melbourne” acquired last Spring. This canvas is nearly square, and shows Victorla in her youth and early in her reign, riding horseback in company of the great Whig leader—William Lamb, second Viscount Melbourne—prime minister from July to November, 1834, and from April to August, 1841. As Vic- toria was crowned Queen of England— and married to Albert—in 1840—it ‘was probably during the latter period | interesting. Although a few litho- that Melbourne went riding with her majesty. The place may well have been Balmoral Castle in the highlands of Aberdeenshire. The riders are on a high terrace, overlooking a broad sweep of hilly country. They are shown as approaching the observer. The Queen'’s eyes are very vacant and very blue, and their empty gaze rivets and holds the visitor'’s attention. The canvas is sketchily painted, but insist- ent with spiritual eontent—personal= ity—perhaps one should say contrast- ed personalities—because Melbourne is by no means to be overlooked or found negligible. On either side of this painting hang oil sketches, elaborate in composition and carried as far as need be, of scenes of other days by Gifford Beal, presumably made for the theater— stage designs. One is entitled “Polka” and shows a ball, possibly in the East Room of the White House, or other equally stately hall, in Victorian days —when ladies wore wide, spreading skirts and dancing was a gay, breath- taking recreation. The other is en- titled “Scene for ‘Parnell’” and rep- resents life in the same period. The canvasses make an interesting group. In still another room one comes across the picture of a “Cock” painted by Knaths, which in its simplicity has always evoked admiration and now on the instant reminds of a famous print by Hiroshige, the great Japanese print maker recently reproducedin a volume on “Birds and Flowers in Japanese Color Prints,” by C. G. Holme, published by The Studio, Inc. The medium is different, and also the | effect, but the simplification and in- sistence upon essentials are virtually the same. Art knows no boundaries of time or place. Drawings by Cikowsky in the Corcoran Gallery. 'HE special exhibition of drawings and lithographs by Nicolai Cie kowsky, which opened in the Core coran Gallery of Art October 10, to continue to November 1, is timely and graphs are included, it is primarily & collection of drawings—in fact what is lithography but drawing done on stone?—and as such it testifies to the importance of draftsmanship and the | versatility of the ‘artist. Technically there is great variety in Mr. Cikow- | sky's work. He uses pen and ink, wash, charcoal and lithographic crayon and each in accordance with the limitations as well as the poten- tialities of the medium. He shows a | grasp of his subject matter and com- mand of his media. A A Russian by birth and with train- ing in Russian schools and studios, Mr. Cikowsky came to this country in 1923, and 10 years later became a naturalized citizen. He has lived dure ing this time, for the most part, in New York, but his residence in the great metropolis has been broken by periods of teaching in Cincinnati— in the Museum School—and in St. Paul. In style and feeling his work is un-American, dominated, as it were, by inherited tradition and early | thing more than an historical rece | technically they are very interesting. impressions of things seen and taught [WORK OF MASTERS Capital Offers Opportunity to Study Paint- ers of Modern Schools Who Have Won Fame—Art Activities. “Cock and Glove,” by Karl Knaths, on exhibit at the Phillips Memorial Gallery. in his native land. It is strong, in- dividualistic and vital, but almost entirely it concerns itself with that which is homely and depressing. The people he portrays are the under- dogs, the so-called lower classes, not necessarily oppressed, but with small mental endowment, comeptency and development. Mr. Cikowsky's aim is said to be “to interpret life today and to bring art to the people.” Like many other art- ists, he seems to foregt that life is many-sided and that no one facet can represent the whole. What interests him in his work, we are told, is “social content” and the manifestation of “social change,” but obviously these must be incidental. Art is something more than picture-making; some- ord. It partakes of the universal; it aspires to things beyond. Much of the trouble with art today is the empha- sis on the factual. So many of our artists seem to have no vision and to dream no fair dreams. For such they give us nightmares. Possibly this is because of present conditions, but it may come from a perverted point of view. It should not be supposed from the foregoing that Mr. Cikowsky's draw= ings are to be condemned—far from it. They are extremely well done, In one at least there is a glimmer of beauty. This is “Wisconsin Farm,” a | simple subject, simply treated lnd‘ fully suggestive of sections of our | Western lands which, despite “fitness and absence of picturesque features, | do manifest a beauty which is epic | in quality and elemental. Some of | his larger figure drawings in char= coal, such as a street vendor, “Flow= ers” “Farmers” a family group, “Striker” and “Poor Man,” are ren- | dered with sympathy and under= | standing; but perhaps more notable as achievements are his compositions, such as “Players,” “On the East River,” “Demonstration,” “Tragedy” and “Waiter,” in which life as he has seen it is sternly and honestly de- picted. To achieve this measure of competence has undoubtedly required profound study, which in itself en- titles to respectful consideration. Mr. Cikowsky's work is not to be taken | instinctively. lightly. ACE ART Charles Lee Frank Finds Certificate Signed - by George Washington. By Vesta Cummings. HARLES LEE FRANK, Wash- ington art connoisseur who unearthed a valuable portrait of Stephen Decatur, American | naval hero, last year, came into pos- session of Decatur's certificate of | honorary membership in the Society of Cincinnati, signed by George Wash- ington, a week ago. * The parchment scroll, autographed at Mount Vernon, December 10, 1785, was purchased at the pre-auction sale of the estate of Caroline H. Addison, to the delight of Mr. Frank, who has been unearthing forgotten master- pieces annd historical documents for 40 years. ‘The certificate, Mr. Frank points out, is done “in blank,” Gen. Wash- ington having signed a number in advance for the use of the orgamiza- tion, to be conferred upon eligible members as the need arose. Decatur, who was the most conspicuous figure in. the naval history of the United States for the 100 years between Paul Jones and Farragut, was only 6 years old when the first President of the United States and the first president of the order, placed his signature on the parchment with which he was to be henored in his young manhood. Mr. Frank, who is one of the most accomplished and tireless detectives in the world of art, is particularly pleased at adding. the certificate to his collection because of the difficulties he encountered ideatifying & portrait of Decatur by John Wesley Jarvis after it had been in his possession more than four years. When. he picked up at & local auction some years ago & portrait of an aquiline- faced, red-haired young man, he was struck by the fact that the subject wore & midshipman's vest. Mr. Frank searched historical records until he discovered a later picture of Du'fl\u' “DETEC by Jarvis, owned by the Navy De- partment. ‘HERE was then no mistaking either the identity of the young sailor or his painter. The oil painting was made, it turns out, when both Decatur and Jarvis were about 19 years old, and Decatur a student at the United States Naval Academy. ‘The picture was once part of the | collection of Charles Morris, Ameri-| can naval officer, who took part in the expedition under Decatur which de-; stroyed the frigate Philadelphia = | the Harbor of Tripoli in 1805. At the outbreak of the War of 1812 Decatur was in command of the frigate United States, first ship of the United States Navy. As a result of his feats and victories on the high seas Commodore Decatur was honored with appointment to the Society of Cincinnati, a memorial body organized by officers of the American Revolutionary Army. Membership was limited to officers of the Conti- nental Army who had served with honor three years, or been discharged for disability, and to their direct male descendants. By some the society was regarded as the beginning of an aristocratic order, obnoxious to popu- lar liberties on account of its heredi- tary nature, and as a result it did not flourish. The living hereditary mem- bers today number about 980, The certifieate, one of the few in existence signed by George Washing- ton, was presented to Decatur at New ‘York, February 13, 1813, as a part of the honors with which he was deluged after his naval conquests. In adding the Cincinnati document to his treasures Mr. Frank also aug- ments his enviable record in the art world of the Nation’s Capital. He is & distinguished and familiar figure at local auction rooms and picture gal- leries, with his flowing gray hair and high-bridged, black-ribboned glasses. A rnative of New Orleans, Mr. Frank studied art there and in Europe and is an expert restorer and painter as well as collector. ADWM‘I&I&.M TIVE” Notable Illustrations dby Walter Appleton Clark. A COLLECTION of illustrative work by the late Walter Appleton Clark was placed on exhibition in | the Library of Congress this week. This collection represents a recent addition to the fast-growing and ex- tremely valuable cabinet of Ameri- can _illustration, which the Division of Fine Arts of the Library brought into being a few years ago. ‘Walter Appleton Clark did his first illustrations for Scribner's Magazine in 1897 at the age of 21. He died nine years later, but in that brief span he accomplished a vast amount of work, and work of a high order of excel- lence. He was one of those whose genius seemed to manifest itself full fledged on the first instant. His early work is among his better—at least it was not bettered. He apparently drew Bridges, for many years editor of Scribner’s Magazine, he had power to draw, insight in composition and deli- cacy of imagination, combined with strength. The decorative quality of his work and his feeling for color have also been remarked and praised. But perhaps his most valuable asset was the ability to grasp the author’s con- ception, to project himself into situa- tions created by another, and to give them convincingly vital expression. He had to an unusual degree visual imagi- nation. Of him it had been truly said ! that combined with technical skill | were his thorough knowledge of an- atomy and composition, together with vivid imagination, ability to interpret character and emotion and a strong sense of the dramatic. Yet Walter Appleton Clark seems not to have passed through any long training or discipline. ing the Worcester (Massachusetts) High School and the Worcester Poly- technic Institute, he entered the Mas- sachusetts Nautical Training School, April, 1894. On the schoolship he made a five months’ cruise, visiting both Paris and London and returning from Cadiz by way of Bermuda. It was the latter part of this voyage which, it is said, furnished him inspiration for illustrations for “The American Slave Trade,” published in Scribner’s Magazine, July, 1900. According to Robert | After attend- | B3 “Swimming Pool,” by Roger M. Rittase, included in the ezhibition opening in the Arts Club tomorrow.’ e Abandoning sea life, Mr. Clark set- tled in New York and began the study of art under Siddons Mowbray at the Art Students’ League. In 1897, while still a pupil of Willlam M. Chase, he made three drawings for Kipling’s short story “.007” for Scribner’s,-which brought him into immediate attention and his work in demand. For four years he worked almost exclusively for the Scribner firm, during which time he illustrated Kenneth Graham’s “Saga of the Sea,” for which he re- ceived a silver medal at the Paris Exposition of 1900. In August, 1900, Clark went to Paris with the idea of studying under Whistler for & year at least—but his plans missed fire and he returned to New York in October. In 1802 he married, and the following Spring | January, 1905. His_death occurred about a year later. Included in the Library of Congress collection are examples of some of his best works, such as the original draw ings to illustrate “A Lover of Music and “The Light That Failed Not,” Ca- “The Fortunes of Oliver Horn,” by F. Hopkinson Smith; “Capt. Macklin,” by Richard Harding Davis; “Legends of the City of Mexico,” by ‘Thomas Janvier. To those who recall the publications of these authors, the mere setting down of the titles brings a thrill derived originally not merely by text, but illustrations perfectly in accord. Perhaps the art of that day was not as virile as is that of today, but it had, | and still has, a charm ‘which cannot | be gainsaid. The Library of Congress is to be congratulated upon the acquisition of the Walter Apleton Clark collection. It was the gift of Mrs. J. 8. Sargent, John A, Clark and others. It will re- | main on view for several weeks. Rittase and Davies Ezhibit In the Arts Club. IN’ THE Arts Club of Washington, from tomorrow to November 6, ex- hibitions of paintings by Roger M. | Rittase of Washington and of pic- torial photographs by Cecil Davies of Portsmouth, England, will be held. Mr. Rittase is a member of the Wash- ciety of Washington Artists, He studied at the Pennsylvania Academy, in Philadelphia, and here in the Cor- coran Gallery of Art; in the former under Fred Wagner and Daniel Gar- ber, and in the latter under Richard Meryman and Burtis Baker. He has exhibited quite regularly in Washing- ton for several years and has won by his works several much-coveted awards. Mr. Davies has made a name for himself by his photographic interpre- tations of boats in full sail, from small pleasure craft to imposing, full-rigged ships. Of prints of such character his approaching exhibition will chief- ly consist. Mr. Davies is a regular went to Prance, where he lived until | nadian tales by Henry Van Dyke: | and | ington Landscape Club and the So- | exhibitor in the photographic salons abroad and here, and has won many medals for merit. Mr. Rittase will be present at the tea which tomorrow afternoon will mark the opening of the exhibitions. ‘The hosts on this occasion will be Mr. and Mrs. Frank J. Mackenzie, The Corcoran Gallery’s 15th Biennial Announced. I this week announcement of its | Fifteenth Biennial Exhibition of Con- temporary American Pantings, to be held March 28 to May 9, 1937. The William A, Clark prize awards, aggre- gating $5.000, will be made, as usual, to the four paintings adjudged best by an expert jury of artists from among the number competing. These will be accompanied by the Corcoran gold, silver and bronze medals snd certifi- ! cate of honorable mention. Circulars and entry cards will be issued on or about January 15. An interesting note occurs in this | | announcement to the effect that while the trustees of the galiery are “in full sympathy with any proposal which has for its aim the encouragement and aid of artists, the gallery is not in a position to pay a rental fee for any pictures in this exhibition.” Thus the Corcoran Gallery of Art reaffirms | the position taken and publicly an- nounced last year in regard to this proposed practice on the part of cer- tain artists, The Corcoran Gallery of Art does {not stand alone in this matter—the | majority of other art museums have | issued similar statements. Because of | the Carnegie Institute’s declination to pay rental fees, quite a number of the artists of the so-called “left wing” are not represented in the international exhibition which opened in Pittsburgh | the middle of this week. These artists, | and some others, by way of protest are simultaneously exhibiting in a Pittsburgh dealer’s gallery. Strangely enough, according to the regulations laid down by the organization which originated this absurd demand, exhi- bitions in a dealer’s gallery are per- missible without fee, but not in art museums. In past years more sales have been made from the Corcoran Gallery's biennials than in almost any other display of similar character. And, what is more, the Corcoran Gal- sion for such sales. In view of these facts, the action of this group of art- ists, persistent in demand for rental fees would seem short-sighted and self-injurious. Important Exhibitions of Water Colors Scheduled. announces its to be held in the Corcoran Gallery of Art from December 18, 1936, to Jan- uary 20, 1937. water colors, pastels and works in black and white. Entry blanks may be obtained from Mrs. Susan B. UNEARTHS CHARLES LEE FRANK, Washington art connoisseur and “detective,” who has just come into the possession of Stephen Decatur’s up:ointment to mem- bership in the Society of Cincinnati, signe ington on December 10, 1785. by George Wash- Houdon made when the Father of His Another time he identified the sub- ject of an oil painting by a mole be- tween the eyebrows as William Few, first delegate to the Continental Con- gress at Philadelphia, United States Senator from Georgia, and one of that State's signers of the Federal Con- stitution. J. Edgar Hoover, who started collecting bronzes after being made interested in them by Mr. Frank, declares that had not the Washington artist preferred oil paintings he would have made a superior detective. In the Congressional Library Mr. Frank found another picture of Mr. Few, done 25 years earlier, with a mole in the precise place between the eyes, which established the person in his own oil painting beyond doubt and ended a painstaking search. Mr. PFrank also discovered a por- trait of Mary Rendolph Custis, wife of Gen. Robert E. Lee and grand- dsughter of Martha Washington, which is not hung at Arlington Man- sion. He purchased for $20 at a local auction the flag flown on the U. 8. 8. Olympic during the Battle of Manila Bay and later presented it to the Dewey Congressional Medal Men's Association. A relatively unknown portrait of prominent Saunders. Setting out to discover the painter Mr. Frank settled, after nine months’ investigation, upon J. F. L'Hospital, by comparing technique and craftsmanship with a smaller pic- ture from the brush of that French artist discovered in the collection of & Philadelphia historical society. MR. FRANK always carries a miniature of George Washington with the engraving on the back of the case “Painted from life by P. A. Peticolas, 1796.” He found this deli- cate bit of work in Chicago, but who through Lan- DECATUR RELIC Hero to Famous Body of Military Men. covered that Washington once sat for the Washington piano. Not until 1917 did Mr. Prank discover in Rich- mond a grandson of Peticolas, a mu- sic teacher, who gave the final infor- | mation that authenticated the work. Once when Mr. Frank was engaged in his favorite form of treasure hunt- | ing he acquired an original portrait | study of Lord Mansfield by Sir Joshua | Reynolds, labeled in the auction cata- logue “Portrait of a Barrister; unfin- ished; E‘nxllsh school, early eighteenth century.” It was purchased by the | be placed in the library. Another time Mr. Frank found that in an auction room here for a nominal sum was the work of William Read, the earliest portrait painter in Amer- ica, who worked in Boston in the sev- enteenth century. Mr. Frank bid for the painting because experience told him it was unusual, he says. He car- ried it home, washed away the crust of dirt and found in the upper left- hand corner the initials “W. R.” From this clue the artist’s identity was later beyond established In his voluminous pockeu Mr. PFrank keeps many treasures he en- joys—miniatures, a gold cannon, a stunning black opal and tie pins made of tiny seascapes and landscapes painted on ivory. At his home on Conduit road, where Mr. Frank lives alone since the death of his wife a few years ago, larger art objects and oil paintings fill the rooms. Some are authenticated and others are still anonymous. But everything in the house is beautiful. Things neglected by unappreciative owners are being restored and reframed by Mr. Frank, Corcoran Gallery of Art issued | lery of Art never charges a commis- | THE ‘Washington Water Color Club | annual exhibition | This will consist of | Document Admitted Naval, Peticolas, & personal friend who tuned | Chase at the Arts Club, 2617 H street northwest. The Baltimore Water Color Club will hold its thirty-ninth annual ex- hibition in the Baltimore Museum of Art from November 1 to 30. Practically coinciding in date will be the thirty-fourth annual exhibi~ tion of the Philadelphia Water Color Club, which will be held in the Penn~ sylvania Academy of the Fine Arts, November 1 to December 6, in con- junction with the thirtr-fifth annual exhibition of the Pennsylvania So- ciety of Miniature Painters. The American Water Color Society and the New York Water Color Club, which used to exhibit jointly and in the late Fall or early Winter, will again show separately this season— the former in January—the latter in February in the Fine Arts Gallery, New York. The number of these e hibitions gives indication of the im- portance to which work in this me dium has attained. Ezxhibition of Polish Arts and Crafts in Baltimore. HILE an exhibition of the In- dustrial Arts of Finland has been attracting attention here in | Washington, shown under the patron- age of the Finnish government, an exhibition of Polish arts and crafts has been and is still on view in the Baltimore Art Museum, Wyman Park, Baltimore. The latter exhibition was | formally opened by the lately ap- pointed Polish ambassador to the United States. In both instances the art of these nations has not been pre- viougly shown in this country. | The Polish exhibition, like that | from Finland, comprises numerous | examples of craft work, weaving. pote | tery, wood carving, etc. In the Polish | exhibition are also to be seen some interesting peasant costumes, very colorful and excellent in design. In this collection, one section is devoted to modern art—toys designed by. are | tists, but executed in factories, mode ern wood carving as taught in the trade schools, and weavings spone sored by the Modern Art Society of Poland. There are also posters and prints and a two-man showing of water colors by Skoczlas. formerly head of the Warsaw Academy. and of architectural wash-drawings by | Noskowski. | Baltimore has a large Polish popu= lation and the current exhibition is under the auspices of the Polish- American citizens. Not only does the | holding of such exhibitions tend to promole international friendship, but to evidence to all Americans the gifts in talent, taste and skill which such immigrants bring to our country— gifts which should be welcomed and cherished. Collection of American Ceramics To Be Exhibited Abroad. IN THIS connection, it is interest- | 7 ing to learn that a collection of ceramics by contemporary American potters has been assembled by the Syracuse Museum and will be exe hibited in Denmark, Sweden and Fine land on the special invitation of these nations. This collection is now being shown in Syracuse as a part of the Fifth National Ceramic Exhibition— the Robineau Memorial—which has become an event of exceptional ime portance. It commemorates annually the achievement of Mrs. Robineau, one of our most sugcessful potters and porcelain makers, who lived, worked and had her kilns in Syracuse, —— St Way to Use Whey. NEW way to use whey has been perfected. Experts of the Bureau cof Dairy Industry, after much experimenting, have developed a means for employe | ing this nutritive part of milk which | usually goes to waste during the process of cheese making. Whey contains nearly half the solids not fat of milk, particularly the lace | tose or milk sugar. One very valuable vitamin also is included in whey. Be- Law School of Harvard University, t0 | cayse this by-product of cheese-make ing has no pleasing taste it usually has gone to waste or has been eme a small, dirty oil painting picked up |Ploved in stock-feeding. Dr. H. B. Webb, who did the re- search work for the bureau has pere fected a method of incorporating whey in canned vegetable soups and in fruit-flavored whips. Dr. Webb finds that whey can be used successfully in a variety of food preparations by taking advantage of its chief distinguishing characteristie, which is its lack of casein. Casein is the substance that causes coagulation in milk under high temperatures or in the presence of acid vegetables or fruits. In his experimental work Dr, Webb used condensed whey, whey powder or whey cream in place of normal milk or cream to enrich differe ent vegetable soups. The whey cone stituents cause less difficulty with coagulation and simplify processing, the soups retain their natural coior better, they have the characteristie milk flavor and they have greater nutritive value than soups made with= out milk. When whey is combined with the highly acid juice of oranges, grape- fruit, strawberries, loganberries' and similar fruits, the acidity of the eom~ those whose creators are identified and those whosgare not. bination is so high that little heat is required for gierilization.