Evening Star Newspaper, January 23, 1937, Page 19

HE EVENING STAR, WASHINGTON D. C, SATURDAY, JANUARY 23, 1937. MELLON GIFT HAS STRENGTH IN HISTORICAL PORTRAITS THOMAS CLARKE’S DEVOTION SHOWN John Quincy Adams, sixth President of the United States, painted by Thomas Sully in Washington in 1824—By courtesy of the A. W. Mellon Educatiomfi and Charitable Trust. Malbone to London in 1801 and studied under West, traveled in Italy, re- turned to this country, went back to England, taking with him S. F. B. Morse as a pupil, and finally estab- | lished himself in Cambridge, Mass., Giver’s Intention Is Disclosed in Hope That Collection Would Become Nucleus of National Portrait Gallery to Be Established Later—Art Notes of Capital Tell of Exhibition at National Museum. % | where he painted and enjoyed a vogue | John Trumbull’s portrait of in the Mellon collection.—By co cational and Charitable Trust. Alezander Hamilton is included urtesy of the A. W. Mellon Edu- War College Receives Gep. I—lazren’rsr Portrait |Gift From Charles Lee Frank Is One of | Official Works by Henry Ulke, Represented i g was acquired last year by Mr. A. W. Mellon. Mellon Educational and Charitable Trust. ‘he Washington Family,” by Edward Savage, from the Clarke collection, —By courtesy of the A. W. By Leila Mechlin. N IMPORTANT part of the A magnificent art collection which Mr. Mellon is giving, with unparalleled generosity, to the Nation is the group of historical portraits, mostly by early American |yni pis death in 1843. This picture painters, as.sembled' over a consider-| oo painted in Boston in 1827, and, ;‘;‘;m{l‘;"gbg.::e 30:",‘;1“}’{{ 03‘“ .;;gi | oddly enough, gives chief place not Sroup. comprisés 175 paintings by 70 to Gilbert Stuart, who is seated with %o 80 artists dating from the seven- his back to the observer, but to All- teenth to the early nineteenth century, and is the most comprehensive of its kind in existence. Thomas B. Clarke, who brought this remarkable collection together, was born in New York City in 1848, and from early manhood was deeply interested in art. He began collecting when he was only 24 and continued 1t with zeal throughout his lifetime. With the collector’s instinct, he was tireless in his pursuit of fine examples, sometimes waiting patiently for years for oppartunity for acquisition, and repeatedly retiring exhibits in favor of works adjudged better or more rep- resentative. r. Clarke was, however, not merely s friend of art but of artists. The Thomas B. Clarke prize of $300, given annually by the National Academy of Design for the best American figure composition shown in the academy's annual exhibition, was founded by him in 1884, and many a young artist was helped over rough places by his en- couragement as well as patronage. Mr. Clarke’s chief interest was col- lecting portraits of important person- ages by early American painters, or at least by those who first practiced and upbuilt this art in America. From time to time the works he acquired were exhibited at the Union League Club and the Century Association in New York, of both of which he was a member. At the former these exhibitions, beginning in 1921 and continuing for some years, became annual affairs— and of much note. For each of these Mr. Clarke prepared and printed a descriptive catalogue, giving data not only about the painters but the sitters, very informative and vastly engaging. In none of these does Mr. Clarke's name appear either as lender or com- piler. The “Committee on Art” merely expresses its thanks to “a former chairman” for co-operation in assem- bling, cataloguing, etc. But every one in touch with the art world knows who the nameless person was. Grad- ually the Clarke collection became outstanding. ME. CLARKE died in January, 1931, and shortly thereafter the eollection was offered for sale by the trustees through the American Art Association, auctioneers, New York, with the stipulation that it be sold en bloc. The sale was scheduled for a day in June, and the auction room was thronged, but when it was stated that not less than $1,250,000 would be accepted as a minimum bid, there was silence and the collec- tion was withdrawn. All sorts of rumors followed. It was reported at one time that the collection would be broken up and disposed of item by item, which would have been a great pity. In February, a year ago, an- nouncement was made that the col- Jection had been bought en bloc by M. Knoedler & Co., and in September it was revealed that the purchaser was in fact Mr. Mellon. As was stated at the time, the Knoedler pur- chase was published, that this col- lection was appraised for taxes at $1,000,000, but as an historical record of early America it is invaluable. When including this collection in his gift, Mr. Mellon stated very clearly that the intention was to regard it as the nucleus of a National Portrait Gallery to be established at some later time, rather than as more than tem- porarily a part of the proposed Na- tional Gallery of Art. Obviously, comparatively few of the paintings 1n the Clarke collection are artistically up to the standard that Mr. Mellon has set and upheld for his own col- Jection of masterpieces. But some are, and these may eventually be given placement with the world master- pieces. Probably among these is the so- ealled “Vaughan” portrait of Wash- ington by Gilbert Stuart. This was painted in Philadelphia in 1795 and was taken to England the same year, engraved and published, by Holloway, an English engraver, in 1796. It re- mained in the possession of the Vaug- han family until 1851, when it was purchased by Joseph Harrison and brought back to America. Stuart is said to have offered it to the State of ‘Massachusetts for $1,000. At the Har- rison sale in 1912, it brought $16,100, and it is now appraised at $175,000. Mr. Clarke coveted the possession of this painting for more than 20 years before he was finally able to acquire it. ‘There are no less than 29 por- traits by Gilbert Stuart in this collec- tion. AN INTERESTING souvenir of Stuart is the group portrait, “Gilbert Stuart’s Family and Painting }holg." by' Washington Aliston, the S?ut Carolinian, who went Wwithg ston, who is prominently seated in front of Mrs. Stuart, with palette and brushes in hand. Standing around pjvermore (as well as by three other | Stuart are his three daughters, Anne canyasesy—and Henry Benbridge, | Stuart, Mrs, Stebbins, holding her| gpno has been called “the Copley of small child in her arms, and Jane | ho South” by a painting of Mrs. | | Stuart, while to the left is seen &|ysaac Holmes. | group of three men, Mr. Stebbins,| = 1¢ must, however, be admitted that | Gilbert Stuart Newton and a third, | the majority of these portraits which ) of Jane Browne, who married Samuel | Blackmore family in England, for | place, and a great one, in the annals whom they were originally plmted.’ Mr. and Mrs. Blackmore, it seems, came to this country in 1871 to ac- | company the expedition headed by |Dr. F. V. Hayden, then chief of the United States Geological Survey, with the ethnology of the American In- of American art. Distinguished Artists to Serve On S. W. A’s Jury of Awards. The Society of Washington Artists has announced its jury of award for its forthcoming forty-sixth annual exhibition in the Corcoran Gallery of | unidentified. On the wall is a por- trait of a deceased son, Charles. | Likewise famous is the painting of “The Washington Family,” by Edward | Savage, well known through repeated | life—some say at Mount Vernon, others in Philadelphia, between 1789 and | 1796. ington, in uniform, and Mrs. Wash- | ington in satin gown and ribbon- | trimmed lace cap, seated on either | side of a small table on which lies spread out a map; Eleanor Parke Custis stands beside her grandmother, George Washington Parke Custis beside Gen. Washington, the somewhat shadowy background, “Billy,” the black boy, stands in re- | spectful attention. curtain are seen sky, foliage and, pre- | sumably a view of the Potomac River. | The majority of the paintings in |this collection are single figures, painted with no other purpose than | that of portraiture, and painted so extraordinarily well, ditions of the country, the poverty | of material and the lack of instruction are considered, that they seem little short of miraculous. Works by 10 or | 11 painters born before 1700 are in- | cluded, among which appear the names | of four of one family, the Duyckincks, | the first of whom came to New Am- | sterdam from Holland in 1638, was | well as a “limner.” His son and | grandson followed in his footsteps, | and attained to even greater distinc- | tion as artists and citizens. | The earliest known portrait painted lin this country is that of Richard | Bellingham, Govenor of Massachusetts, 1641-1656 and 1665-1672, painted upon his first appointment by one William Read, a “mapmaker,” and contained in this collection. OBVlOUSLY more competent and more artistic are the works by | painters of the following century, | even such very early ones as Feke, | Theus, Claypole, Pine and Pratt. | Light is thrown upon the attitude of | these painters—as well as some later | ones—toward their art by a statement | made by Matthew Pratt, to the effect | that he had learned from his uncle, | James Claypole, “all the different | branches of the painting business, particularly portrait painting.” Paint- ing was a business in those days and many of those who eventually rose to distinction in the art advanced to it ‘1rum the crafts or from trade occu- pations such as sign and coach paint- ing. But they bent all their efforts to doing & job well and they must have had instinctive taste and feeling. Cer- tainly they did not stop to consider whether or not they were “socially minded,” and they wasted little time in feeling their spiritual muscles or | seeking “self-expression.” Reviewing the history of art in America in those early days, one can- not but be struck by the up-swinging of talent, the inception of which can in no wise be traced, and the remark- able flowering under most adverse circumstances. There were giants in those days, who appear even larger in stature today when viewed across more than a century than they prob- ably did when they walked the earth. For instance, Benjamin West, Copley, Stuart, Peale, Malbone and later Fulton, Morse, Waldo, Sully, Harding, Neagle and others. There are por- traits by ail of these included in the catalogue of this collection. And what is most interesting is that these painters came from different localities, New England, New York State, New Jersey, Pennsylvania, Maryland and South Carolina. Especially did por- trait painting seem to have thrived in the South. WORD as to those whose portraits were painted—the celebrities of the seventeenth, eighteenth, and in some instances nineteenth centuries. There are John Quincy Adams, paint- ed by Sully; Andrew Jackson, by Ralph Earl; Franklin Pierce, by Healy; Clay, by Audobon; Marshall, by Lamb- din; Hawthorne, by Leutze, while of earlier vintage are Sir Peter Warren, the first proprietor of Greenwich Vil- lage, by John Watson, who came to the colonies in 1715, and Frederick Philipse, original owner of Philipse Manor, Yonkers, painted in_1674, by Henri Couturier, probably ofie of the Walloon refugees. Copley is repre- sented by an early work, & portrajf | reproduction, which was painted from 1 In it are shown George Wash- | while in | Beyond a looped | when the con- | a fire warden and a glass maker, as | have come down from other days are of men not women—and that when of the latter, commemoration would seem to be due mot to personal charms or distinction, but association in mar- riage with men of outstanding prom- | inence. There are statesmen, generals, | judges, ministérs and merchants, men of sturdy character who laid the foundation of our Nation. Probably a good many may not have been “good | likenesses,” but they were certainly seriously painted, and with this pur- pose in mind, and a surprisingly large number would seem to carry conviction through characterful representation. Through this assemblage of portraits, | furthermore, one glimpses the life | that was lived in this country in | Colonial days and the days of the early Republic, and in such wise that | pride of the right sort is engendered. | Standing before a portrait by one of | the best of the early painters, a| | distinguished painter of today was heard to exclaim: “How did they do | it? And why can't we do it now?” | The answer is far to seek. | Outside the Clarke collection, pur- | | chased en bloc, Mr. Mellen has ac- | quired for the National Gallery of Art | collection four very important por- | traits by American artists. They are | a portrait of Washington by Stuart, | | one of Alexander Hamilton by Trum- | | bull, one of Andrew Jackson by Sully, | and, the fourth a portrait of Lincoln | by Healy. These apparently he has | | adjudged worthy of hanging with | portraits by such artists as Reynolds, Raeburn, Gainsborough and Romney | —high tribute, indeed. To close this brief summary of the works which make up the Thomas B. Clarke collection of early American portraits without at least a word in regard to the artistic value and su- perlative quality of the works by old masters, which chiefly constitute the A. W. Mellon collection, destined for the National Gallery of Art, would be | impossible. They are beyond compare —among the greatest works of all time. On being told that the stand- ard of these works is to be upheld when subsequent additions are made a well known authority on art threw up his hands and said: ®It can not be done—there are no more like them.” It is this superlative quality, linked with supreme beauty in conception and execution, which gives them their priceless worth. The “American Scene,” as Presented by Moran. The exhibition arranged in the lobby of the National Museum in cele- bration of the centenary of the birth of Thomas Moran, is attracting spe- cial attention. It comprises not only oil paintings, five in number, water colors and field sketches, but also 37 etchings and portraits of various members of the Moran family, the painter’s mother, brothers and sis- ters, as well as a few miscellaneous exhibits. Four of the portraits are etchings by Stephen Ferris, a brother- in-law. Thomas Moran was one of 14 chil- dren. The parents were weavers, op- erating hand looms. Four of the sons made names for themselves in the flield of art—Thomas, Edward, an older brother; John and Peter. Their children have continued to carry on the artistic tradition to the present day. It is an interesting fact that each member of this family has de- veloped his talent along original lines and none has overshadowed the others. It is particularly appropriate to have this Moran exhibition in the National Museum, for Thomas Moran was in 1871 artist in the Haydn ex- pedition to the Yellowstone River, and it was undoubtedly the drawings then made which influenced Congress to withdraw from settlement 3,575 square miles of the Yellowstone River and its valley for National Park . The water colors painted by him on this epoch-making expedition were drawn with scientific accuracy, but were also revealing in the matter of beauty—therefore equally satisfactory to scientists and laymen—and moving as works of art. His works all have color and atmospheric quality. In a memorial exhibition now in progress in the Newhouse Galleries, New York, is a group of water colors by Moran drawn from collections now in the Southwest, which came to this country & few Jears ago from the | Canyon of the Yellowstone,” which | drawings is now in progress in the whom they shared a deep interest m[ | dian. Mrs. Blackmore died on the | Art as follows: For prize awards in trip and Mr. Blackmore ordered of | painting, Leon Kroll, Gifford Beal and Moran this series of water colors, | Edward Bruce, and for sculpture, Hans | which, finished in 1872, was exhibited | Schuler of Baltimore. Leon Kroll is| privately at Goupil's in New York be- | outstanding today among American | fore being sent to England. But, as | artists, having received first award in Helen Comstock has said in her com- | the Carnegie Institute's most recent ment on this exhibition in the Con- | international exhibition and having noiseur of London, “Moran’s record been commissioned to paint two mural of the beauties of the Yosemite and | lunettes for the Department of Justice’s Yellowstone are to be found in every | new bullding. Gifford Beal, painter representative collection of American and etcher, needs no introduction to painting.” | Washington art lovers. He is well In the United States Capitol are represented in the Phillips Memorial two large oil paintings by Thomas Gallery and the Corcoran Gallery of Moran, one “The Chasm of the Colo- | Art, besides which a delightful exhibi- rado” and the other “The Grand|tion of his etchings, lithographs and were purchased by Congress at $10,000, Print rooms of the former. Edward each. A similar but still larger paint- Bruce is both a painter of rare attain- | extensively in Europe, the most of his | scene” ing of “The Yellowstone Valley” is owned by the National Gallery of Art,| having been presented some years ago| by the late George D. Pratt of New | York. Charles E. Fairman in his book “Art and Artists of the Capitol of the United States,” says of Moran, “An experienced traveler in the western part of this country, he was deeply impressed with its wild and majestic scenery; and although he had traveled paintings are of American subjects, he holding the belief that the true artist can produce the best work from the subjects of his own country.” Here we find cropping up more than half a century ago the idea of “the American which some contemporary painters would have us regard as a recent discovery. ‘Thomas Moran was peculiarly fortu- nate. His pictures had ready sale and were in constant demand by both col- lectors and publishers. He was thus able to spend- his life in doing what he most desired to do, and was assured of appreciation. Perhaps this explains what may best be termed a negative quality in his work. There was no struggle—no call for courage—and after all, sad as it may be, it is, as Otto Kahn once pointed out, “the drip of tears” which calls forth in almost every instance the work of power and | of Baltimore, visiting instructor in the genius. But Thomas Moran has his Bulletin of ment but also adviser to the art sec- tion of the Procurement Division of the Treasury Department. Hans Schuler is one of the leading sculptors Corcoran School of Art, and has a number of fine monumental works to | his credit. This jury will meet next | Tuesday afternoon. The exhibition will open on Saturday—a week from today and continue for three weeks thereafter. The Washington Society of Miniature Painters, Sculptors and Gravers is exhibiting again this year and simul- taneously with the Society of Wash- ington Artists. Its exhibits, which will include work in little in various media, will be shown in cases in the upper atrium of the Corcoran Gallery of Art. A Photographic Ezhibition to be Sponsored by the Junior League. Announcement is made that the second annual Washington Photo- graphic Exhibition will be held here late in February and early in March in the Junior League Gallery, Massa- chusetts avenue at Twentieth street. Definite dates for this exhibition spon- sored by the Junior League, as well as rules, judges, etc., will be published later. The committee in charge is most eager that there shall be a larger local representation this year than last, for which reason preliminary an- nouncement is made at this time. Two very interesting photographic Exhibitions CORCORAN GALLERY OF ART—Permanent collection, paintings and sculpture. Barye bronzes. Clark collection—European paintings, rugs, tapestries, lace, etc. Drawings by Sargent. Exhibition of sculpture by Paul Manship. Water colors by May Conly Schnaetzel. NATIONAL GALLERY -OF ART, UNITED STATES NATIONAL MUSEUM—Permanent _collections, Evans, Johnson, Harriet Lane Johnson and Herbert Ward African sculptures. American Gellatly, Ralph Cross, Two stained glass windows by John La Farge and other recent accessions, Oils, water colors and etchings by Thomas Moran, in celebration of artists’ centenary. SMITHSONIAN INSTITUTION, DIVISION OF GRAPHIC ARTS— Exhibition of etchings by Polly Knipp Hill of Florida. FREER GALLERY OF ART—Permanent collections, Whistler paintings,, etchings, drawings and the Peacock Room, Oriental paintings, bronzes, pottery, miniatures, etc. NATIONAL MUSEUM, Tenth street and Constitution avenue— Exhibition of wrought iron. NATIONAL MUSEUM, Arts and Industries Building—Pictorial photo- graphs by E. W. Blew of California. PHILLIPS MEMORIAL GALLERY—Permanent collection, paintings by old and modern masters; also works in sculpture. Drawings and prints by Gifford Beal. Recent acquisition, “St. Peter,” by Goya. STUDIO HOUSE—Exhibition of drawings by Aaron Sopher. TEXTILE MUSEUM OF THE DISTRICT OF COLUMBIA—Permanent collection, rugs, tapestries and other textiles of the Near and Far East. exhibitions are now current—one at! the Arts Club of works by leading pic- toralists selected from one of the prin- cipal out-of-town exhibitions; the| other in the photographic section of | the United States National Museum, Arts and Industries Building. compris- ing interesting examples of the art of E. W. Blew of California. Local Artists Exhibiting in \L Other Cities Win Praise. | Eleanor Parke Custis of this city, chairman of the Exhibition Committes of the Arts Club, is holding a one-man exhibition of her water colors in the new Museum of Art, at Charlotte, N. C. This comprises 25 of her paintings in gouache, made on a Mediterranean tour a couple of years or more ago, and of five Gloucester and New England subjects. A very engaging showing. | Miss Custis is starting almost imme- diately on a trip to Guatemala, to be gone several weeks. 1 Miss Edith Hoyt reports great suc- | cess in connection with her exhibition in the Ferargil Gallery, New York, | not only in the matter of sales, but in invitations from the Brooklyn Mu- | seum and the Chicago Art Institute to | contribute to the international water color exhibitions to be held in these institutions later in the year. Eliot O'Hara left Washington this ‘week for a trip by motor to Arizona and the West Coast. His exhibition in Boston received very favorable no- tice from New England critics, and| he is scheduled for an exhibition in | New York in April. Meanwhile, he | has been holding classes in Philadel- | phia at the School of Industrial Art| and in New Haven at Yale University. | Mr. O'Hara has an exhibition on the | road at present which is now on view in the John Herron Institute, In- dianapolis, after which it will be shown in the Mint Museum of Art, | Charlotte, N. C., and the Gibbes Memorial Art Gallery, Charleston. . Art Society to Honor Charles Moore at Annual Dinner. ‘The Washington Society of the Fine Arts announces that its annual dinner will be given at the Mayflower Hotel on the evening of Thursday, February 18, and in honor of Mr. Charles Moore, chairman of the National Commission of Fine Arts. Mr. Moore has more than rounded out 25 years of service in this connection, during which time the now famous park commission| plan for the development of ‘Washing- | ton has found fulfillment. Painters, scuptors, architects and landscape ar- chitects who have served on the com- mission also will be honor guests upon | this occasion. Opening of Pennsylvania Academy’s Annual Ezhibition. The Pennsylvania Academy of the Pine Arts will open its 132d annual exhibition this evening with a private view and reception. Oue of the host- esses upon this occasion will be Mrs, C. Powell Minnigerode, wife of the di- rector of the Corcoran Gallery of Art. This is the oldest art organiza- tion in America and, dingy and out of date as is the interior of the old Acad- emy Building, at Broad and Cherry streets, nowhere do paintings show to better advantage. Sports Stars (Continued From Page B-1) versity’s Orange Bowl championship foot ball team. The day is the anniver- sary of the death of Knute Rockne. Dutch is seated before my mike. There’s a lump in his throat and his eye is moist as he pays tribute to Open Mondays, Wednesdays and Fridays, 2 to 5 pm. Admission by card, obtainable at office of George Hewitt Myers, 730 Fifteenth street. ARTS CLUB OF WASHINGTON—Exhibition of water colors of & Carolina rice plantation by Alice Ravenel Huger Smith of Charleston. And photographs from American Annual of Photography, 1936, LIBRARY OF CONGRESS, DIVISION OF FINE ARTS—Exhibition of recent accessions: Pennell lithographs; drawings by American illus- trators. Exhibition of original illustrations by Walter Appleton Clark— recent accessions. Pictorial photographs of the Statue of Liberty by Jeanette Griffith. INTIMATE BOOKSHOP, LITTLE GALLERY—Exhibition of water colors by Philip Coffin, Frank Letts and Col. Fitzmaurice Gay. ART GALLERY, HOWARD UNIVERSITY—Exhibition of work by Guggenheim Fellows. PUBLIC LIBRARY, MAIN BUILDING--Water oolors, designs and ceramics by local artists under W. P. A. ' MOUNT PLEASANT BRANCH LIBRARY—Prints by members of the Society of Washington Etchers. SOUTHEASTERN BRANCH LIBRARY—Paintings by members of Landscape Club. NORTHEASTERN BRANCH LIBRARY—Paintings by members of the Landscape Club. JITTLE BLUE Y, 2040 S street—Oils and prints by local artists at moderate prices. Rockne, his former mentor and be- loved friend. - Tfll most thrilling on-the-spot sports broadcast that I have ever engaged in was the description of the first heat of this year's President's Cup race, one of the feature events of the recent President’s Cup regatts. The first heat is usually the most ex- citing, because there are more ene trants and consequently more danger of spills and a breath-taking finish. Off to a flying start, the powerful boats roared past the starting line, and from the Coast Guard cutter Apache, anchored in midstream, it was possible to witness practically every moment of the thrilling 15-mile race. The Logarto, owned and driven by George Reis, took an early lead, but before long one of the dark- horse entries, Delphine VIIL, splashed through the fosmy wake of the El Logarto and soomed to the front in & } Here on Government HE gift of an oil portrait of, Gen. William Babcock Hazen, Civil War hero, painted by the well-known Washington artist, Henry Ulke, was accepted recently by the Army War College, presented by | Charles Lee Frank, local conservator of art and art connoisseur. Mr. Frank rescued the picture from obscurity and restored it, finding an excellent picture of Gen. Hazen, who died in Washington 50 years ago, on January 16, 1887. In the future it will hang in the company of other military men, accepted by Brig. Gen W. 8. Grant. commandant of the Army War College. Henry Ulke, the painter, is remem- bered by a great many Washing- tonians. His portraits of several Sec- retaries of War and Treasury now decorate the War Department and the Treasury Department, and his por- trait of Gen. Ulysses S. Grant is in the White House collection. Over 100 portraits were produced by this artist while he lived in Washington. Departments’ Walls. Born in Germany, Ulke came to the United States and finally to the Capital in the middle of the last cen- tury. He died here in 1910, countinz among his patrons such distinguished folk as Charles Sumn., Salmon P. Chase, James G. Blaine, John Sher- man, W. W. Corcoran, Carl Schurz, Robert G. Ingersoll and Mrs. Jefferson Davis. Gen. Hazen, subject of the portrait found by Mr. Frank, was the first husband of the lady who became, after his death, the wife of Admiral Dewey. She was the sister of John R. McLean of Washington. Gen. Hazen was graduated from West Point in 1855, after which he spent five years on the Western frontier, where he was twice badly wounded. After an eventful career, in which he helped to build the Army Signal Corps to its present completeness by securing the services of college graduates an- establishing regular courses of instruction, he was made chief of the Signal Corps in 1880, and lived in Washington until | the time of his death. A portrait of the military hero, Gen. William Babcock Hazen, recently presented to the Army War College. deafening roar. The Delphine VIII was still in the lead as the boats rounded the buoy and came thunder- ing down the stretch. Suddenly, without warning, the Del- phine VIIF leaped into the air, came | | Parade of gripping events and person- | alities. in which I am thrilled to be | marching—as a talking Boswelll Composer Stays on Bus. Offered an audition and a chance down on the water on its side, rip- | ping out & big chunk ef its hull and | to sing his own songs over the radio, plunging its driver and mechanic | Bernard Wetherall, London's musicil into the murky waters of the Poto- |pus driver, will remain at the wheel. mac. The accident happened but 10 | In the first place, he cannot sing, and yards away from our microphone posi- | it 45 on his bus that he gets ideas for tion and was one of those thrilling, | his songs. dramatic scenes that a sporis an- |— nouncer prays for. But that wasn't | all. That night, on the Sports Pa- Z rade, the listeners heard the voice of the driver of Delphine VIII, ' Yes, how true. Sports broadcasting | isn't all records, touchdowns, hits | [ and errors, triumphs and defeats I've found it to be a great Sports Exhibition Japanese Wood-block Prints ASIAN ARTS 1143 Connecticut Avenue ABBOTT SCHOOL FINE AND COMMERGIAL ART All Tspes of Commercial Art 1143 CONNECTICUT AVE. WRHE, PHONE or ‘CALL for CATALOG