What to See in the Galleries Source: The Lotus Magazine, Vol. 5, No. 7 (Apr., 1914), pp. 483-486 Published by: Stable URL: http://www.jstor.org/stable/20543570 . Accessed: 18/05/2014 14:49 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . http://www.jstor.org This content downloaded from 194.29.185.146 on Sun, 18 May 2014 14:49:19 PM All use subject to JSTOR Terms and Conditions
Transcript
What to See in the GalleriesSource: The Lotus Magazine, Vol. 5, No. 7 (Apr., 1914), pp. 483-486Published by:Stable URL: http://www.jstor.org/stable/20543570 .
Accessed: 18/05/2014 14:49
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp
.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].
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http://www.jstor.org
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A RT has become so progressive that FXthe old master no longer suffices. It must be the ancient painting in a frame which also is an old master. Not only the work of the limner must have the mellowness of age, but the encadre
ment must be an antique work of art. This tendency
-one might say demand-is well exemplified in the illustration on this page. It
shows a painting by Sir Thomas Lawrence (from the Scott & Fowles galleries) in a frame that har
monizes in every wvay with the beautiful canvas and sets it off to th-e very best ad vantagxe. The fr-amen comes from the Lebrun es tablishment at No. 48, West 46th, and of wvhich M. J. Jory is the American re presentative. This house always has been most successful in supplying gen uine antique frames which it has been
M R. Arthur S. Vernay, wlhose gal lei-ies of antiques are at Nos. IO
and I 2East 45th Street, has many beau tiful objects of art on vieew there, in cluding several cabinets of very rare early English porcelains. In fact these porcelains are a lure to the student of ceramics, and a joy to the collector.
Naturally, too, there is much fine
collecting for many years-frames of the different periods of art-so that it can furnish for a picture a frame that completely suits it, besides identifying it even more closely with the art period to which it belongs.
The Lebrun establishment, it will be recalled, does the framing for the Louvre,
Versailles, the Boston Museum, and many other public galleries, besides numer ous important private collec tions. Its collec tion of original antique frames includes Italian,
Spanish, and French work of the XVI, XVII and XVIII cen turies. From
its own antique
frames as models it also is able to furnish copies in
carved wood and composition. In fact the psychology of the frame may be said to have been studied and mastered by Lebrun.
period furnitur-e to be seen in the Ver naygalleries. But anobject that would, per-haps, be selected as one of the most interesting exhibits in a collection of very Nwide range, is an alarm clock of the seventeenth century, made by Ed
wardus East, horologei to Charles 1. East was successor to another great
clockmaker, David Ramsay, and car
"Mrs. Dingwell." By Lawrence. (In a Lebrun Frame.)
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ried on the latter's high traditions in the art; his own, as well as Ramsay's
work being knowrn to all collectors. His association with the unfortunate monairch, wN.ho is regarded as one of the most picturesque figures in English history, gives especial value to his pro ducts. The elaborateness and beautyT of this clock create a strong proba bability that the king's horologer made it for tle ling himself. The clock lhas a silver dial, chased with flowers in a case
engraved with views of Old London in panels of ground work of foliage.
Edwar-dus East resided in Pall Mall,
NT YMPHE desarmant I'Amour," by 1N 8Corot, is fromi one of the fine car bon reproductions made by Messrs. Braun et Cie., No. I 3 West 46th Street. The beautiful picture illusti-ates the spi-it of spring and supplements the Easter and Garden articles in this issue of TI-IL LOTUS. It was M. Philip Ortiz, th-e representative of Messrs. Braun et
Cie., in America, who selected from the reproductions by his firm, the pic
neai- the Tennis Court, and he attended the king when tennis was being played in the Mall. HisMaj estyoftenprovided one of East's smaller watches, or clocks, as a prize. This is one of only two similai- pieces known at the present time, and is supposed to have belonged to King Charles and to have been given by him slhortly before his execution to one of his friends.
It wvas formerly in the collection of Captain J. H. Reynolds. then in the
Webster collection, and afterwards in the Fitz-Henry collection out of which it Nwas purchased by Mr. Vernay.
tures that so charmingly illustrate "The Spirit of Easter," both on its religious and secular side.
In this Corot it is especially to be observed that the figures are some what more conspicuous than in most of his landscapes wNith figures. For in these the latter, though interesting notes of movement, usually are quite subordinate, bar ely moore than sketched in. Corot, however, knew the human
Alarm Clock Made for Charles I bv Edwardus East
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on the spot, at the site of ancient Rhages, for exam ple, when excavations with their resulting discoveries have been made. Thus
many of the objects he shows wrere found in situ and br-ought back by him.
In this exhibition there ar-e admirable examples of the art of the Persian potter- vases, bovls, pitchers, trays and otlher
THE etching on this page of tlhe scene in
Venice with the Doge's Palace. is by Andrev F. Affleck. It has been chos en for illustration from an exlibition of etchings by sevreial celebrated etch ers in the galleries of Rudolf Seckel, No. 3I East I 2tlh Street. This slhow of
pr-ints could be described at consid erable length. since tlhe etchings ha-ve
been selected bY Mr. Seckel \with great care and admirably hung by himn. But Tui Lo--Ls pr-efers to call attention to
similar objects. There al so are remarkable monu
ments of art in the shape of altar backs and sculp tured doors. Apprecia tion in this country steadi ly is growving for the work of the Persian miniature painters, calligraphers, bool-binders and deco -a tors. Manv specimens of tlhese products wvill be found in this exlhibition.
tlhe gi-eat charmii
of the gcal leries themselves. Thev are located in pairt of one of New York's old private residences; and it is so long ago tlhat Twvelfth Str-eet wvas a residence str-eet, that the site, for
New York at least, may almost be called classic ground. Nothing mor-e intimate can be imagined than these galleries. Tovisit them and look at
the prints on tlhe walls, is quite like Aieving a private collection in the residence of the collector.
White Sprinkler. enameled, Rhages. XII centur. In the Kevorkian Exhibition
Doge's Palace, Venice. Etfliing b x And 3lew F. Aftleck, In tile Rudolf Secl;el Galleries
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