Evening Star Newspaper, April 24, 1937, Page 19

THE EVENING STAR, WASHIN iTON, D. C, SATURDAY, APRIL 24, 1937. SEASON OF FLOWERING ARTS Exhibitions Bring Delighi to Admirers of Creative Work in Capital. Paintings and Sculpture Owned Here—W himsical Subjects at Phillips Gallery. “Lurembourg Gardens, Art for their American Paintings. By Leila Mechlin. HE multiplicity ‘of exhibitions opening at this time would suggest a timely flowering of art in keeping with the season of blossoming trees and shrubs. But the fact is that Nature herself is a formidable rival in this field, when in | fresh Spring dress, and lays the artists under special obligation as to verity. With eyes filled with the brightness of Spring sunshine and the beauty of Spring leaf and flower, works of art on exhibition must be very good and more than clever to en- gage and hold attention and admira- tion. Measured by even this exacting atandard, however, those who have made the rounds of local exhibitions this week have found in them much to admire and enjoy. The exhibition of paintings and sculpture owned in Washington, which opened in the Phillips Memorial Gal- lery on the 15th, and will continue until the 30th, is one in which every lover of art must find untold delight. It contains not only the works of great masters, but choice examples. Furthermore, the collection as a whole covers a long period and comprises works of extremely varied character. If nothing else, it should teach the catholicity of art and the absurdity of insistence upon any fixed way of expression. There are too evidently many ways, if but one end, that of truth and sincerity. And in these ‘works beauty is ever present, intrinsic not merely in subject, but rather in presentation. In almost every in- stance these pictures are beautifully painted, though very differently. ‘What could be more exquisite than the “Rest During Flight Into Egypt” by Gerard David, from the Mellon collection, a small panel painted over 400 years ago, but ‘with colors undimmed and workmanship un- rivaled. The Madonna with the Christ Child in her lap is in blue dress and cloak of heavenly hue, with Just a touch of red at neck and hem of garment. There is a lovely iand- scape setting and the Baby's interest | ix engaged by a bunch of white grapes | held in His little hand. wise how enchanting But like- of “The Visitation of the Virgin,” lent by the Hon. Irwin Laughlin, much more freely rendered, but with equally evident reverence and joy. This rep- resents the meeting, recorded in the scriptures, between Mary and Eliza- beth; and a band of little cherubs carrying the latter's chant of praise to Heaven. It is all done with a light touch but with insistent simplicity and charm. NG to the portraits—what a +™ revelation one finds here in such outstanding ‘examples as, to name only a few, the “Portrait of Woman Holding Book,” by the Maitre de Flemalle—fifteenth century Flemish artist—from the Dumbarton Oaks (Bliss) collection, rendered with such magnificent exactitude, breadth and simplicity; the two little Ambrose Bensons of a man of the early six- teenth century and his wife—lent by Mr. Adolph Caspar Miller—rendered with much the same deliberate cor- rectness, but also vital. In striking contrast are the “Head of Christ,” by an unknown artist of the Venetian school, owned by Mrs. Marshall Lang- horne, and the portrait of the Mar- quise D'Andelot by Rembrandt, lent by Mr. and Mrs. F. L. Belin, both of which glow with light and are rich and toneful to a remarkable degree. ‘The one has more than a suggestion of Titian, while the other witnesses to the power of the greatest artistic genius, perhaps, of all time. In the Rembrandt portrait the hands are rendered, with especial significance, as characterful, if not more 80 than the face. Then, follow- ing the changes that time brought, are R boldly painted portrait of & man in uniform by Vincente Lopez, lent by Mrs. Keith Merrill, and portraits of the eighteenth century British school by Reynolds and by Raeburn— one owned by Ambassador Houghton and the other by Mrs. Merrill—each fully characteristic, but painted, per- haps, a little more than the earller works to gratify vanity—not that of the individual, but the period. And with these great works one finds & head of a little child dressed in blue, painted by none other than G. P. A. Healy, an American artist, whose active years were those of the mid-nineteenth century, never great, but, as in this instance, at times very good. The lender of this interesting canvas is Mrs. Frank Bennett. One eannot but conjecture how astounded the painter himself would have been to find himself in such distinguished tompany. Another work by an early American, calculated to arouse pride, is that of “Fruit in a Pressed Glass Bowl,” by Ruben Peale, lent by Mrs. McCook Knox, a realistic presentation, but very well rendered and extremely colorful—a thoroughly painterlike per- formance, direct but sophistocated, with an elegance all its own. With extreme hospitality and mod- esty, paintings belonging to the Phil- lips Memorial Gallery have not been included in this special showing, and fibmh the large gallery on the secon ” by William Glackens, jr., permanent collection, from the Fifteenth Bi is the little | painting, oil on wood, by Fragonard, | floor and the smaller one at the foot of the short flight of stairs lead- ing thereto are given over exclusively to the works loaned. All of the paint- ings to which reference has just been made are td be seen in the larger gallery, while in the smaller are found | works by painters of the latter-day French school—or produced under its influence. Here one finds & famous “Portrait of a Lady,” seen against a background of flowers, by Mary Cas- satt, American by birth but long resident in Paris and an exponent of the impressionist school; *Portrait of | & Young Girl,” by Berthe Morisot, the | one woman associated on even footing | with the great impressionists, and “Portrait of a Young Woman,” pastel, by Renoir, all three lent by Mrs. Mar- shall Field; as well as two Degas— one a famous canvas, “Repetition de Chant,” the other a “Portrait of Julle Bellelli"—and & very lovely ex- ample of the work of Alfred Steven— Belgian—of “Mother and Child,” all three of which are drawn from the Dumbarton Oaks collection. To segra- gate this group was an excellent idea, as it is essentially modern and peculiarly individualistic. On the opposite side of the hall a single little gallery is given over at present to the eight or more small paintings by Daumier of the Phillips collection, which, interesting enough, | seem to furnish a link between the | old and the new. Any one of these | could hang, as does the Daumier, | “Street Musicians,” from the Dum- barton Oaks collection, in’ the main gallery with Rembrandt and Greco, Cranach and Memling, or in the smaller gallery with Degas and Seurat, Very much alive, they have in every instance the “intrinsic beauty of paint on canvas.” Whimsical Drawings of Insets, Birds, Beasts, by Pierre Bonnard. FFSETTING the grave dignity and seriousness of the Loan Exhibi- tion is a collection of drawings by Pierre Bonnard now on view in the print rooms in the basement of the Phillips Memorial Gallery. These, mostly in pen and ink, were made a: illustrations for “Histories Nai .ralle: by Jules Renard, and are of bird, beasts, insects and fishes. There is a lightness and gayety about them that is refreshing. They are essentially for children, but make appeal no less to those of mature years. To an ex- tent the artist uses a juvenile idiom not with pretence but naturalism, adapting himself and his work to the child mind. These are such drawings as a child might well demand of an artist—“Draw me a cow—draw me a goat—draw me a deer”—ad infinitum. Not only has M. Bonnard drawn all these, but pigs, sheep, ducks, swallows, owls, fish, bees and various insects. A delightful drawing s of ants in groups, carrying on their endless in- dustry, Bonnard was born in 1867 and is essentially of the new school, linking in his work the Impressionists with the Expressionists. Writing of his paintings, of which the Phillips Me- morial Gallery owns several excellent examples, Mr. Phillips has said that he is “a whimsical artist of unmistak- able genius,” and refers to his “capri~ cious joy at seeing life for himself” as well as to his childlike mind which “frolics in the eternal Springtime of & piquant fancy,” thus creating for us “glimpses of fairyland.” Analogy has been traced between his paintings and the musical compositions of De- bussy, but this is a matter of eolor rather than line. In a world racked by war and torn by many terrors, the mere fact that one artist at least can find delight in making merry drawings for children, such as these by Bonnard now on view, should be matter for re- assurance and rejoicing. “Twenty Women Painters” Make Ezcellent Showing. THE “Twenty Women Painters"— an organization neither formal nor fixed—has opened, this week, an exhibition of the works of members and invited (feminine) guests in the little gallery at Jellefi's. It is a color- ful and excellent show. There are works in oils and in water color, and they hang together admirably. In the matter of subjects, there is nice va- riety—figures, landscapes, street scenes, interiors and still life, Gladys Nelson Smith shows a clever and semi-humorous composition, entitled “The Snob,” which evidences a pic- torial sense and aiso a command of her medium. Gertrude G. Brown is likewise seen to have essayed a figure composition, “The Penny Jig,” a lively scene, young Negroes dancing, rather sketchily indicated, but out of the ordinary. Marguerite Munn, who is exhibiting at this same time at the Arts Club, is twice represented, and well, by a study of “Gladioli” and a landscape, the latter an excellent transcription of & "mountain, seen across an arid plain. Very appropriete to the time is a painting of “Cherry Blossoms”—trees in Potomac Park—by Ethel Foster, lovely in color and evanescent in effect and very sensitively rendered. Paula MacWhite is admirably rep- resented by a small painting of the “Old Mission Church, Taos,” which \is simple in treatmert, direct purchased by the Corcoran Gallery of ennial Exhibition of Contemporary —Star Staff Photo. toneful—outstanding. Catherine C. Critcher, who has, as every one knows, won enviable reputation by her paintings of Indians, exhibits here a group of two, behind a table, on which stands a bowl of bright colored zin- nias, quite in her usual manner and style. Mathilde Mueden Leisenring makes valuable contribution to the collective showing through two still life studies—one of “Things From Nan- tucket,” a group of objects of nauti- cal origin on a very plain table, and the other red zinnias on a red table— both of which are gravely but very knowingly painted. Whatever Mrs. Leisenring paints invariably shows knowledge and sensitive emotional quality—charm. Other still-life paintings of notable merit are “White Roses,” a water color by Clara R. Saunders, very subtle in treatment; “Cyclamen,” by Elizabeth E. Graves, which is delight- fully colorful and well composed, and “Winter Bouquet,” boldly rendered and very impressive in color as well as treatment, by Lona Miller Kep- linger. Among the water colors of special note are three foreign scenes—one in Tripoli, another in Rhodes, and a third in Morocco—by Eleanore Parke | Custis, done in her skillful and ac- customed way in gouache; an in- terior, “The Studio,” and two street | scenes, one in Taxco, Mexico, and | the other in Sarajevo, by Susan B.| Chase, the accomplished secretary of the Water Color Club; a marine, “Gray Day, Bass Rocks,” by Lucia B. Hollerith, painted with breadth and excellent feeling; two by Mar- garete Lent Mulford—a “Light House” standing stark against the sky, the other, “Christmas Snow in Washing- ton,” a more elaborate composition presented no less boldly, and “The Edge of the Wood,” by Ruth Osgood, which is pleasing in color and good in construction. Others making interesting contri- butions are Helen F. Collison, Grace M. Ruckman, Cathrine P. Melton, Blanche H. Stanley, Edith Hoyt, Ma: K. Porter and Gladys Milligan. This exnibition continues to the end of the coming week. Flowers and Figures Constitute April Exhibition. N THE Women's City Club, Jackson place, is now to be seen a collection of paintings by Hattie E. Burdette of this city. Miss Burdette is best known as a portrait and figure painter, but she is exceptionally skillful also in the painting of still life and flowers, by which in this exhibition she is largely represented. These have charm of color, are decorative and very dis- tinguished. One of the canvases is of a great bunch of peonies in & jar, very double and handsome; another. no less pleasing is of single peonies in exquisite arrangement. There is something splendid in the arrogance of these flowers, and yet with all their color they are no more engaging than her study of white iris or of a few white roses in a cream-colored vase. These last are toneful and in rather a low key, but quite opposite are studies of “Garden Flowers” and “Old Glass,” high-keyed and rather impressionisii- cally rendered. Among the portraits shown are the three-quarter length of Miss Helen Lippitt in ivory satin gown, which found much favor when shown in the Society of Washington Artists’ most recent exhibition, and a head in profile of ‘“Miss Dudley Gregory.” “The White Hat” and “A Wanderer” are studies made in the studic from chance models and revealing as well as strong. In addition there is a landscape painted some Summers ago at Sorrento, Me,, showing one of the mountains of Mount Desert in the distance; a “Decorative Panel” with figures, a figure of a young woman examining “Old Prints,” and several intimate little garden pictures with Interesting vistas. The more than 20 paintings in this exhibition are distributed through three rooms and take their places on the walls with appropriateness, as well as effectively. No one could fail to find the collection pleasing, and fortunately the Women's City Club is, under such circumstances, hospitable in admitting visitors. Paintings by Glackens Purchased By Corcoran Gallery of Art. Corcoran Gallery of Art an- nounced this week the purchase of a painting by William J. Glackens entitled “The Luxembourg Gardens,” included in the Fifteenth Biennial Exhibition of Contemporary American Paintings for its permanent collection. It is a small canvas, picturing adults and children in a section of a green park which might be in Paris—and doubtless was—or in New York or Washington. It is one of three paint- ings by which Mr. Glackens, chairman of the jury of admissions and awards for this biennial exhibition, was repre- sented therein. It is a comparatively early work, but considered representa- tive. Glackens was born in Philadelphia in 1870. After studying at the Penn- sylvania Academy of Fine Arts he went abroad, where he worked under well-known masters of the day. In 1908 he was made an sssogiate mem- “Miss Dudley Gregory,” by Hattie E. Burdette, on exhibition at the Women’s City Club. ber of the National Academy of Design and in 1933 elected to full membership. Meanwhile Mr. Glackens had associated himself with those of | the so-called “left wing,” the “Society of Independent Artists,” and other rather radical groups, but his work has never been extreme, and more than once it has been honored by awards voted by his conservative col- leagues. Among these are the Temple Gold Medal, the Second Carnegie Prize and the Beck Gold Medal. Fx- amples of Mr. Glackens’ paintings are to be found in the Metropolitan Museum, New York; Chicago Art Institute, and the Phillips Memorial Gallery of this city. Paintings Sold From the Corcoran Biennial Exhibition. JFIVE sales have been made of paint- ings in the biennial exhibition, in addition to the one previously men- Detroit Institute of Art, | Whitney Museum of American Art | ) | be awarded. Each visitor will be given a ballot to fill out and cast for the | painting which he, or she, considers most meritorious. Thus the public may confirm or reverse the judgment of the professional jury. But this should be kept in mind—whereas in this case all works on view are eligible, many, for one reason or another, were not competing for the jury awards. The “popular award,” the public co- operating, should register the atiitude of laymen to the art of the painter, and has, therefore, double significance. Without a sympathetic and under- standing public, no art can flourish long. But sympathy and understand- ing are not always synonymous with connoisseurship, and that is where the public and the artists often part company. An Ezhibition of Book Binding Of Notable Interest. I\llss MARIAN LANE, accom- plished bookbinder and illumina- . “Cherry Blossoms,” by Ethel Foster, included in the echibi- tion of “Twenty Woman Painters,” at Jelleff's Art Gallery. —Star Staff Photo. tioned to the gallery itself. These in- clude the Mattson “Wings of the Morning,” acquired by the Metropoli- tan Museum of Art: “Death on the Ridge Road,” by Grant Wood, so urgently desired by a West Coast pur- chaser that it was removed and de- livered; “Western Landscape,” by Trentham, and “One O'Clock Leave,” by Krawiec—no one of which can be said to be a really notable canvas. This is in striking eontrast to the sales that were made from the bien- nials 10 years ago, which were out- standing. Has taste changed, are the painters not meeting the require- ments, or are the potentialities of art patronage vanishing? Popular Prize to Be Voted For By Public Next Week. DUEING the coming week visitors to the biennial exhibition of contemporary American paintings in the Corcoran Gallery of Art will be given opportunity to vote for the painting therein to which the “popu- lar prize,” offered by the gallery, shall Bulletin of CORCORAN GALLERY OF tor, issued invitations the first of this week to an exhibition of her pupils’ work in bookbinding, begin- ing Thursday and concluding today, at her studio, 1920 S street northwest. Miss Lane has the gift of imparting knowledge and the patience which is requisite to good teaching. Her pupils, one and all, make excellent “report,” showing work which upholds high standards of craftsmanship. Such crafts should be generously supported, for they may not develop taste but encourage submission to discipline without which no art can be brought to perfection. Each of the three days of this exhibition a demonstration of bookbinding has been given at half after 3 o'clock. The Corcoran School Sets Forth a Jolly Fake Show. N CONNECTION with the biennial exhibition mention should be made of the rather jolly exhibition of “Fakes” which the students of the Corcoran School have put on at this Exhibitions ART—PFifteenth biennial exhibition of contemporary American ofl paintings. NATIONAL GALLERY OF ART, United States National Museum— Permanent collections—Evans, Gellatly, Ralph Cross, Johnson, Harriet Lane Johnson and Herbert Ward African sculptures. Stained glass windows by John La Farge and Willlam Willet, paintings and etchings by Thomas Moran., Exhibition of paintings, sculpture and other works of art by Washington artists, sponsored by art department, District of Columbia Women’s Clubs. SMITHSONIAN INSTITUTION, DIVISION OF GRAPHIC ARTS— Exhibition of etchings by Frederick K. Detweiler. NATIONAL ,MUSEUM, ARTS AND INDUSTRIES BUILDING— Exhibition of pictorial photographs by Eleanor Parke Custis. FREER GALLERY OF ART—Permanent collection, paintings, drawings and etchings by Whistler. The peacock room, Oriental paintings, bronzes, pottery, miniatures, etc, PHILLIPS MEMORIAL GALLERY—Permanent collection, paintings by old and modern masters; also works in sculpture. Loan exhibition of important paintings and sculpture owned in Washington—exhibi~ tion drawings by Pierre Bonnard. STUDIO HOUSE—Exhibition of prints and drawings by Mateo Hernan= dez, opening April 29. TEXTILE MUSEUM OF THE DISTRICT OF COLUMBIA—Permanent collection, rugs, tapestries and other textiles of the Near and Far East. Open Mondays, Wednesdays and Fridays, 2 to 5 p.m. Admis- sion by card, obtainable at office street. of George Hewitt Myers, 730 Fifieenth ARTS CLUB OF WASHINGTON—Exhibition of paintings and block prints by Marguerite C. Munn and paintings and etchings by Elisa- beth Searcy. LIBRARY OF CONGRESS, DIVISION OF FINE ARTS—Exhibition of etchings and other prints by contemporary printmakers: Pennell lithographs; drawings by American illustrators. Special exhibition of illustrations by Frederic Dorr Steele. PUBLIC LIBRARY, MAIN BUILDING—Exhibition of works by pupils of Richard Lahey; Mount Pleasant Branch, paintings by Mrs. Levine and Janice Holland. WOMEN'S CITY CLUB—Paintings DUMBARTON HOUSE—Historical utility and pictures. by Hattie E. Burdette. art exhibit, furniture, articles of INTIMATE BOOKSHOP, LITTLE GALLERY—Exhibition of water colors by Mitchell Jamieson of Virgin Islands. GALLERY OF MODERN MASTERS, 1367 Connecticut avenue—Water colors of New England and the West by Howard Giles, opening April 26. HOWARD UNIVERSITY GALLERY OF ART—Exhibition of water colors by Oscar Julius. ART GALLERY, JELLEFF'S8—Annusl exhibition of Twenty Women Painters of Washington. “The Snob,” by Gladys Nelson Smith, included in the exhibition of “Twenty Women Paint- ers,” at Jelleff’s Art Gallery. time. The walls of the large room to the right of the New York avenue entrance are covered by paintings by the ‘“youngsters” “taking off" the works of their “grave and reverend seniors” in the great gallery show. And how sharp they are in discover- ing vulnerability, and with what skill they succeed, now and then, in “hit- ting the nail on the head.” And “no disrespect meant” or “offense taken.” In fact, to be “faked” is, in a meas- ure, an honor under such circum- stances. Two of the prize winners, “Meditation,” by Du Bois, and ‘“Snakey,” by Bernard Keyes, have furnished excellent material for the fakers, as well as “Model in Dressing Room,” by Sloan; issouri Musi- cians,” by Benton 'Wings of the Morning,” by Mattson, and “A Muse,” by Brackman. The holding of such an exhibition was a capital idea; sport of this kind helps to clear the afr. Studio House Will Show Drawings and Prints. INEXT Taursday, April 29, Studio House, 1614 Twenty-first street, will open an exhibition of prints and drawings by the Spanish sculptor, Mateo Hernandez, who has made a specialty of sculpture of animals. The Metropolitan Museum of Art acquired last year a “Black Panther” by Her- nandez, carved in diorite, which, like everything this artist does, was cut by him directly from the block. Add- ed to the difficulty of this technique is the fact that the materials he uses are among the hardest known. This exhibition of his prints and drawings will introduce him to Washington art lovers. Opening on April 29 and continu- ing to May 10 in Studio House will be an exhibition of recent work by a group of artists of Washington and Baltimore, among whom are Alice Acheson, Robert Ades, Julia Eckel, Robert F. Gates, Richard Lahey, Her- man Maril, Marjorie Phillips, Pren- tiss Taylor, Charles Walther and Elizabeth Roberts. Howard Giles Will Ezhibit Here. AN EXHIBITION of water colors of New England and the West by Howard Giles will open with a pre- view in the Gallery of Modern Mas= ters, 1367 Connecticut avenue, to- morrow afternoon, to continue to June 1. This should prove of very great interest, as Giles is not only a good painter but a deep thinker and through his works and his teaching has exerted a strong and beneficent influence on contemporary art. For many years he was dean of the faculty of fine arts of the Master Institute of the Roerich Museum. He is one of those who believe that “the laws of or- der in Nature are the principles of de- sign in art” and is an exponent of the Hambridge theory of dynamic sym- metry. It is in these same galleries that the painting entitled, “Passing Storm, Dolomite Mountains,” by Isobel Kuhl- man, reproduced on this page on April 10, was shown, together with other studies of great interest by the same artist. Miss Kuhlman uses for the majority of her paintings oil colors, but in the manner of water color, in thin wash and with great delicacy. She is an indefatigable student and an eager investigator, and pushes her investigations to the limit of her field in order to extend knowledge and boundary. Most striking in the col- lection shown were interpretations of olive trees expressive of various emo- tions or experiences. She, too, is an exponent of the Hambridge theory. Water Colors of Virgin Islands And Other Current Exhibitions. OTHER exhibitions now current and later to be reviewed are waters colors by Mitchell Jamieson, to be seen in the little gallery of the Inti- mate Bookshop, 3204 O street, George= town, the invitation to which carries & quotation from Mrs. Roosevelt's re- cently published autobiography, “My Day,” commending and telling of the acquisition of one of Mr. Jamieson's paintings made in the Virgin Islands; exhibitions at the Public Library and its branches of works by local artists and an exhibition of water colors by Oscar Julius in the art gallery at Howard University. Lowrence Saint to Lecture On Stained Glass. UNDER the auspices of the Archeo- logical Society of this city a lec- ture on “Stained Glass—Is It a Lost Art?” will be given by Lawrence B. Baint, in the auditorium of Gunston Hall School, this evening at 8 o'clock. Mr. Saint was for eight years director of the Washington Cathedral Stained Glass Studio, during which period were produced and installed the 13 windows in the choir and the north transept rose window, as well as win- dows in the chapels of St. Mary and 8t. John. Prior to his association here, he designed and installed five windows in the Bryn Athyn Cathedral near Philadelphia. He has made ex- haustive study of the glass in the great cathedrals abroad. Damage Suits (Continued From Page g-l.\ verdict and pointed out that the plain- tiff had obtained one almost as large —$40,000—in Boston. S8trange and seemingly trivial occur- rences led to Bonner’s delicious balm for “injured reputation.” The news- paper attacks grew out of troubles o with a commission file clerk, M nie L. Ward, who drove Frank W Griffith, chief clerk, from her office with a bombardment of water and eggs. When she was suspended, she sought redress by petitioning the high- |est authorities for action against | Griffith and Bonner. ¥ JULY, 1935, after fighting the case in the courts for four years, Mrs. | J. Borden Harriman, Minister-desig- | |nate to Norway, got a judgment for | $850 against Joseph P. Maher, a sub- | contractor, whom she charged with | dumping dirt on shrubbery on her | Ridge road property. The dirt came from an excavation for the home of | the late Raymond T. Baker, former | director of the mint. Compensation was obtained by M | Emma Burris in the Summer of for the death of her husband by sun- [ stroke. Burris died while loading old | curbing into a truck when the tem- perature was 92 and there was no shade. The Court of A that the character of the w | principally responsible for |and directed the United States Em- ployes’ Compensation Commissibn to | compensate the widow A judgment of $250 was obtained in May, 1935, by an evicted couple | | against a United States marshal who | had dispossessed them. The award was to cover damage by rain to furni- ture moved out of the couple's resi- | dence during dispossession. | Evalyn Walsh McLean, she of the Hope diamond, lost, in 1934, a dam age suit brought by Attorney A W. Fox for money he claimed was | due him for services in the di litigation between Mrs. McLea Edward B. McLean, former publisher of the Washington Post, and in con- nection with her attempt to ran: | the Lindbergh baby. Mrs. McLean | testified she dismissed Fox after he had said she was considered men- tally deficient, but the attorney was awarded $3,000. He asked $22,700. A UTOMOBILE accidents are, of | course, the chief producers of | damage suits. One of the biggest | awards made in the past five years | for injuries caused by an automobile | was not, however, in the "1ramc”‘ category. Harrison Herlinger, a young me- | chanic, was working under a car in a garage. A parked salt company truck, which had been left in re- verse gear, backed against the ma- chine under which Herlinger was working, causing it to fall on the mechanic. Herlinger lost the sight of one eye and one side of his face was paralyzed. He obtained a judg- | ment against the salt company fflr‘ $32,500. One of the motor trips which Presi- | dent Hoover regularly made to his | Rapidan camp in Virginia gave rise to a noteworthy damage suit. Mr. Hoo- ver liked to be driven rapidly. Fol- lowing him was the usual train of automobiles bearing Secret Service | men and newspaper correspondents. | Properly to cover their assignment | the latter had to keep up with the | President’s car, which meant keeping the line of cars in the party unbroken and traveling at a high rate of speed. | Among the correspondents, in their | own car, was Frank Connor, with | A big interstate bus nosed into “line of march” and struck | Mrs. Connor Was seri- ously injured. Both husband and wife brought suit against the bus company. Connor lost, but his wife was awarded $5,000. The accident also had this out- growth: Correspondents covering the White House petitioned the Presi- dent to reduce the speed of his driving on such trips. = . Sun | wife. | the | Connor’s car. (Continued From Page B-1.) experiments were resumed in 1920 by substituting sheets of glgssy rolled aluminum. These alumihum sheets were thick enough to preserve their shape when screwed to the steel.; They added very little to the weight | of the mirror and were found to| reflect about 75 per cent of the total solar radiation.” | Some driving mechanism next had | to be devised to cause the mirror to follow the apparent daily march of the sun. Instead of the highly expensive astronomical clock and mechanism used by astronomers for such purposes, Dr. Abbot devised a cheap clockwork contraption that allowed the mirror to turn a little faster than it should to follow the sun. At the end of each five minutes, after being held bak by this gadget, the machinery was permitted to run again and revolve the mirror. The whole driving outfit cost about $15 and three days’ work and has op- erated, according to Dr. Abbot, for about eight hours a day perfectly satisfactorily through several Sum- mers. The reservoir that stored the sun’s heat was made of steel, with welded corners, and stands on a platform about 6 feet above the top of the mirror. There is a device which re- stricts the heating in the early morn- ing to the upper oven in the reservoir, and then, when this is hot, to dis- tribute the heat throughout the whole reservoir. Reservoir and pipes are pro- tected from loss of heat by special earthen bricks. In the ovens tem- peratures of 375 degrees centigrade | siduous study than it posit are readily bake on Mou temperature of the ovens above boil of food can if desired declares Dr. Abbot, serve with great ease pared fruit is put in ered over with sirup and in the lower oven. I jar covers are fast The cooker be cooked nigh ruit, energy stantly d be made to compete rms with at about $3 a ton. It t be r bered, Dr. Abbo radia= tion i clouds, heat vided to be pro= for power nece stori means, more as= has received so far. As for the use of the sun for cooke ing and for similar purposes, he is enthusiastic, for present experiments are working in such a highly satise factory manner. Conceding that there are c sections of the United States where solar radiation is more constant and intense than in other sections, Dr. Abbot still believes that ver a at States power practicable. The is ives near= heat ion of coa solar { expressed in heat “Evidentl; he states, “New Mexi would be a rich State if she mi utilize this free gift from the sun without costly devices for applying it. There lies the crux. Is it possible to utilize solar radiation for power without prohibitive expense for the machinery?” Dr. Abbot believes that it is, provided such machines can be built on a quantity production basis. In addition to the heat collector and solar engine, Dr. Abbot is the ve! of the r cooker, a is a solar toy for “children or grown-ups” that will cook food or run small engines by the power of the sun alone With his illing apparatus it is possible to distill waters charged with alkali, for example, h as are found in the Southwest regions. The distill- ing is entirely a solar process. He has also invented what he calls a sh-boiler. This instrument by Dr. Abbot ht sol was demonstrated before the American Association for the Advancer:.ent of Science in Washington during the Patent Centennial celebration and has also been demonstrated in other parts of the country. For a season it was on display at the Smithsonian Institution in Washington, as was also the solar engine. By means of the flash-boiler it is possible to generate heat available for all purposes five minutes after solar radiation has begun. —_— Fine Old Brass and Bronze Incense Burners, Flower Containers, Mongo- lian Stirrups, Spear Heads, Bowls and Candlesticks. ASIAN ARTS 1143 Conn. Ave. NAt. 4535 Abbott Art School SPRING AND SUMMER CLASSES Commercal Art — Fashion — Life — Costume 'Designs—Fine Arts— Interior Dec. — Etching — Block Print 1143 Conn. Ave. Cézanne, Seurat, Picasso Gauguin, Modigliani Prendergast, Davies, others rom the i CORNELIUS J. SULLIVAN "OLLECTION Exhibition from April 24 Auction April 29 & 30 Send $1.00 for Nlustrated Catalogue American Art Ass’n Anderson Galleries 30 East 57 Street, New York