Walter Shlrlaw, whose death in Madrid wasrecently reported, was an artist who will bedeeply regretted for his lovable personal traitsj.nd for tl!<- ability which he displayed through-out a long career, of Scottish origin, be pos-sessed nevertheless a temperament peculiarlyJ:; sympathy with the atmosphere which liefound Jn Munich when, us a young man, he

In the second gallery there are glimpses ofVenice as wen through Guardi's eyes— LordWemyss's Moretto, "St. George and the Dragon,"and Lord Powis's mellow toned Tintoretto, theCornaro Madonna, flanked by Titian's vivid

The Italian primitives in the first gallery aremainly lent by Mr. R. H. Benson, a collector,

who considers qualities of style as well as namesin purchasing representative works. The "Ma-

donna de Talenti," a typical work of the early

Sienese school, is as quaint and interesting as

the wistful, waxen faced Madonna by Botticelli,

or even earlier Florentine pieces; and amongthe Luini scenes in the history of three martyrs

the "Nativity" shines out in childlike simplicityand serenity ol style, a shepherd holding a lambin his arms behind the manger and the Holy

Family, and an angel appearing above thesbeepfold. The well composed Virgin and Child,

by Giovanni Bellini, with St. Paul, a rare figure

in mediaeval painting, standing with drawnsword behind the donor, is a characteristic work,and so is the "Santa Conversazione," by PalmaYeeehio, with shepherds in the landscape back-ground. Mr. Morgan's "Annum iation," byLorenzo Costa, is a tiny but beautiful work,

with the Virgin kneeling in an ornamented log-gia with arches, through which distant hills areseen. The Filippino Lippi, "Tobias and theAngel," is inferior to it.

have always thought, unjustly criticised ior ex-hibiting the Mi-Culloch collection, which hadbeen purchased during twenty years from theworks annually hung on the line at the acad-emy. The Scotsman who accumulated a fortunein the Broken Hill mines of New South Walesand invested a considerable portion of it >n mod-ern English pictures did not have an eclectictaste in art; but he had good advisers andmade an excellent collection of academic works.The substitution of recent pictures for oldmasters was justified by self-interest, since itdrew in the shillings and helped to advertise thecurrent wares of Burlington House. Tributes to

the memories of munificent patrons cannot be-come a source of annual traffic. The old mas-ters are needed lor educational influence; andthey fill six rooms. It is not a unique collection,like the one at the Grafton Gallery, but it is a

better winter academy than is ordinarily seen

at Burlington House.

neither holds its place on the wall against theRembrandt lent by Mrs. Wauohop*

—the painter

and his second wife, each in brown costume, onewith black hat and feather and the other with ajewelled fan. Beyond this masterpiece is a dig-nified portrait group by Jordaens from the Dukeof Devonshire's collection, flanked by two SirJoshuas belonging to Lord Iveagh—Mrs. Char-lotte Hanbury in pink and gray and LadyMary Leslie kneeling by a stone slab with alamb in her arms. Lord Belhaven's fine Cuyp, aportrait of William IIof Orange in his four-teenth year, completes this group of old masters.

The Van Dycks are in the same gallery, theDuke of D'Aremberg on a horse. Princess Maryof Orange with rose-coiort-d embroideries,Charles IIat the age of eleven, a Genoese ladywith whitt lace ruff and pearls, and the Countessof Peterborough in a low-cut white satin gownwith many jewels. Gainsborough and R.y:,.,;dsare pitted against each other in Lady Wan-tage's "Lady Kardley and Child," equally %min drawing and color, and in the Hon. EdwardWoods 'Viscountess Beauchamp," in yellow

and white, with high headdress and feather fan.Among th»s t portraits are Turner"* "Sheerntss."rrome's "Yarmouth Water Frolic" and an un-usual Morland—« coast scene with chalk cliffsand a group of inmiglnn in lugger and smallboat. The last picture on the long line is one ofthe best. Hogarth's "Lady's Last Stake." a re-markably fine interior with a vivid story inpaint, for which Mrs. Piozzi. according to AustenDobsoa, was not the model This remarkablework, for which the painter received it hundredpounds, now belongs to Mr. Morgan, and rep-resents a much larger investment ol hard cash.

There are three ether galleries rilled with i^r-traits and landscapes. In one there are Ka.-burns, R. mneys. Gainsborough*. Wilsons Ho-garths and Van Dyiks, with Sir Joshuas portraitOl Fanny K<mble. the actress, particularlycharming in its simplicity, and with a brilliantTurner fom Mr. Morgans London house— aVenetian blend of red and gold under a bluesky, portraying the depositing of tUllini's threepictures in the Churt h of th. Redeatore; i,,another .Tnid_»inTa "King ol Twelfth Night."from Urn l»uk» of Devonshire's collection, isconspicuous, with three of Mr Morgans treas-ures on the opposite wall -Van Loo's Madam*

NEW-YORK DAILY TRIBUNE, SINDAV, JANUARY 16, 1010.

WILLIAM M. CHASE. "Daughter of Herodias" and Palma Vecchlo'sopulent portrait of "Laura I>ianti." These aremore impressive than Velasquez's "Our Lady of

the Immaculate Conception," or the early tavernpiece, "The Steward." Captain Pretyman's

Murillo, "The Paralytic," has the place of honor,

and is a beautiful and dignified example ofSpanish religious art. Incomposition it closely

resembles the picture, which has been seen in

Bond street for several years and may finallybepurchased for St. Paul's Cathedral. A differentiii'"l.lhas been employed for the Divine Healer,

and on the right is the pool of Bethesda, with

figures on the margin and an angel in the clouds

above it. The Duke of Devonshire's "Susanna"

is a small version of the Veronese in the Louvre.Mr. Morgan has lent an odd little Spanish pict-

ure, the portrait of a child in a brown and gold

dr. M and white muslin headdress.The large gallery starts off with a strong Rae-

burn, a pair of indifferent Romneys and a mag-

nificent Turner, "Dieppe Harbor," from Mr.Murray Naylor's collection— marvel of dif-

fused and tampered light, which offers a striking

contrast to the classic conventions of Richard

Wilson's "Destruction of Niobe's Children."Hoppner's portrait of Sheridan's second wifecarrying her little boy pickaback, with a donkey

behind her, is one of his strong works; theGainsborough from Corsham, one of Lord

Mcthuen's ancestors, is less remarkable, and

The Winter Exhibition at the JfoydAcademy.

London. January 3.The academy renews its allegiance to the

old masters, after last year's experiment withmodern conventions. Itwas severely and, as 1

MORE OLD MASTIIIiS.

formod his style in tli« Bavarian city. He hada rich, if not very flexible, sense of color. Thesolid greens and yellows which were wont toprevail in his work had something handsomeabout them. He drew the figure with a firm,

full touch, and, while his treatment of the nudesometimes seemed \u25a0 little heavy-handed, thiswas really the result of a Teutonized conceptionof form rather than of manual uncertainty. Heliked to paint Bavarian rustics against a land-scape background sufficiently picturesque, butenveloped in a very friendly, homelike atmos-

phere. When these were not his themes hepainted more or less realistic idyls, attaching

to them a certain graceful significance, butaiming chiefly at the truthful representation ofthe nude figure. He was a sincere, workman-like artist, whose productions invariably hadforce and dignity. R- C.

do Pompadour," In an r.li gold^ZT^fiwith blue ribbon; Marie Vig?c]e' gV !-trait of herself in -white and gold, aa?'l^mental Greuze— "La Dtvideuse,"

*

a foj**^girl winding a hall of wool, with nrh'ch*is playing The third room has a TObrwH--Dutch portraits, interiors and landsca^f!Ibattle scene by Wouvermans, fan r« yland Lord Amherst's "Burgomaster* as\<?^Hals.

_____ "

«\u25a0*|. __L S

A POl: If: OF <111 £Vfllß IFrom Mr. Jacques Reich we have we*—, I

etched portrait that he has recently !Ithe late Robert Louis Stevenson, baa>

*plate upon one of the well known B-tt^ •It shows the romancer seated at a •*??!£table, pen in hand. He leans forwardiaajlf!tude of attention, a grave and yet sotath^Jigraceful figure. The etcher has reproduce Vdelicate firmness the lines of Stevenson's J|

'esting face. The full brow, on which tht *v!is abundantly thrown, is admirably je^But in every detail, in the characterfulin the fine nose, in the beautiful eyesai^v

lean hands— obviously those of an ar%.Reich has used equal strength and suavit?gets seme rich tone out of th» simple blafl,and in the background, unbroken bycessories, he discloses again his sense *color which is attainable by the akR!- ;sensitive etcher. We are glad that he la,emphasized the picturesqueness of -hitj

have heard so much with regard to Sta»sbut has portrayed him just as th* dignifcj,

of letters. This is the kind of print wfci*bookish collector must delight to place on,1wall of his library-

J\ General Invitation i1$ extended to tIK Dem* Putic £

attend the mt

exhibition of jfTUmisl), Italian and fort i

Primitives Iat fIX

*!

?bricb Galleries Iffifth Jlvttitt* and Tortktb %w I—--. F

The Clark GaJler :566 Fifth Aye. V^

ANNOUNCE . ye

A SPECIAL EXHIBITION £OF a

Water Color Sketd||of France and Venice *

'fr

BY

CHARLES S. FORBES;I

Objects of Ar1A Most Important Collection Indus \u25a0:.:£

Tapestries, Carvings, \Porcelains, Furniture, etc t

M. JOHNSON BROWN*

d {17 West 31st Street 1

Louis Katz ;American Paintings, Etching! i \u25a0'

Engravings ; Original Designs li "|,Mirrors and Picture Frames |j

308 COLUMBUS AVENUE, fJAMES E. UNDERHIU ;

Pictures and FramesFor the Holidays

33 JOHN ST. Cor. Nag jTHE CHATFIELD BINDER

Hand bound books for sale and orders rett^, instruction in all branches ef hand ta£f-jTerms on application.

37-45 West 22d St.,If Boulillier Building-

C. EDWARD BROW !17 East :Bth Street. New York.

INDIA CURTAINS, COUCH COYEC;Bombay Hand Carved Furniture, eit|

IsiM fcl \u25a0VI I PAPERS.

"~~

LONG SANG TlCHINESE CURIO CO

j 393 Fifth Ayr., !>rl Mi am: \u25a0-' »w *•»iv;T!i« ;r b«>okl*t tT>. illustrating th* history «* JS5<-IArt un.l stones to be worn iv-r jjw-1 luck <• *~^

da} S, IK*itad).

"THE LADY'S LASI STAKE."(From the painting by Hogarth.*

A Retrospective Exhibition of HisPaintings.

A well deserved tribute to \u25a0 man who hasrendered valuable services to American art hasbeen paid to Mr. William If,Chase, in the or-ganization at the National Arts Club of an ex-

hibition composed of about on.' hundred andfifty Of his works. These paintings illustrateevery phase of his career, from his return toNew York after a period of study in Munichdown to his still energetic labors at the present

time. They offer solid testimony to the truthof the laudatory things that were said abouthim at the dinner given in his honor lastWednesday night. One of his best claims to

our respect and admiration was happily en-

forced by his old friend and fellow artist, Mr

J. Carroll Beclcwlth, who spoke of the resolution

with which they both came back from theirforeign training thirty years ago. They madeup their minds to do all that they could for thecause of American art. Mr. Beckwith justlyplaced a high estimate upon what his comradehad done for our school. It was not simply hiswork as a teacher or his activity in the So-ciety of American Artists and other organiza-tions that made him useful. It was his wholeattitude toward the art of painting.

There is a saying in a famous preface ofMatthew Arnold's praising the generous catho-licity of Oxford which may aptly be applied toMr. Chase. He has given himself to many

tauses in modern art, but never to the Philis-tines. There are a number of canvases in thepresent exhibition, chiefly portraits, which go

perilously near to looking like pot-boilers. Atany rate, they suggest the ready craftsman ex-ecuting a given problem with"something lessthan his wonted inspiration. But take the col-lection as a whole and it is eloquent of but onething, the painter's delight in his medium, hisgusto for experiment, his love of the work forthe work's sake. Even in the portraits aforesaidit is plain that ifMr. Chase's facility has some-times threatened to betray him it has neverlanded him in mere dull convention. He hasalways had vitality; he has always had a cer-tain interest in his technique if not in his sub-ject. ItIs this technical ardor of his which hasdone so much for his own work and has re-acted so beneficially upon many of his coevalsand even a greater number of his juniors.Quickly susceptible to external influences, buttoo able and too self-confident to let them domore than fertilize his natural gifts, he hasmade his studio in some sort a clearing housefor European ideas. While others have talkedor written about these ideas he has put themto the test, not as an imitator but as an open-minded man of flexible talent, finding stimulus>> the examination of this or that hypothesis.

Go with minute care through this exhibitionc. d you will repeatedly catch echoes of certaintraditions or individualities. Before the early"Ready for the Ride," one of the handsomestpieces of painting Mr. Chase ever put to hisiredit, you naturally think of the atmosphere ofMunich in the 70s. Before "The Anti-quarian Shop" you recall Fortuny; a number of".he open air scenes, such as the "Beach atZandvoort," send the memory back to the pict-ures Boldini used to paint, and the interiorcalled "When One Is Old" is as clearly sugges-

tive of Israels. But it does not for a momentoccur to you that Mr. Chase ever consciouslysat at the feet of any of these men. You feelsimply that at one period or another an inter-esting mode of painting was in the air, and hequite spontaneously, and with a wonderful zest,

brilliantly played with it. He has always beenplaying with paint, after the fashion of the trueartist, and, wha"t is more, he has done thiswithout sacrificing an iota of hi.,- fidelity tonature. There lies a rich source of the strengthand originality of this exhibition. It containsno factitious "arrangements" of form and color,no "Whistlerian harmonies" developed from theoutside, as with a dry formula. Mr. Chase haskept his eye on the object; he has sought todraw and model truths; he has cared for lightand has assiduously put it into his work. Helias the artist's feeling for the sensuous beautyin textures. In his numerous paintings of stilllife, which loom impressively in this exhibition,the masses of color he has found in inanimatethings are glorified in terms of paint, and madeastonishingly beautiful. With all his versa-tility, and there has been no more versatilefigure in American art, Mr. Chase has neverthe-less neglected the dramatic motive. Perhaps"neglected" is hardly the word. He has. rather,passionately rejected the sort of subject whichyour devoted technician characterizes as "anec-dotic" and scorns as irrelevant to the painter'sessential purpose. This exhibition amply vin-dicates his personal choice, in portraiture,landscape, still life and those interiors with fig-ures which are their own excuse and need nostory, he has incessantly demonstrated thecharm of color, gcod bruslnvork and a disinter-ested love of beauty. Pictures like his serve tokeep alive the all important thing—which isjust the painter's passion for painting.

2