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Digitized by the Internet Archive 
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THE SALMAGUNDI CLUB 
 
 A History 
 
J. Scott Hartley Joseph Hartley 
 
 W. H. Shelton 
 F. S. Church Will H. Low 
 
THE 
 SALMAGUNDI 
 CLUB 
 
 Being a History of its Beginning 
 as a Sketch Class, its Public 
 Service as the Black and White 
 Society, and its Career as a Club 
 from MDCCCLXXI to MCMXVIII 
 
 with illustrations 
 
 BY WILLIAM HENRY SHELTON 
 
 BOSTON AND NEW YORK - MCMXVIII 
 HOUGHTON MIFFLIN COMPANY 
 THE RIVERSIDE PRESS CAMBRIDGE 
 
COPYRIGHT 1918 
 BY HOUGHTON MIFFLIN COMPANY 
 
 All rights reserved 
 
FOREWORD 
 
 The Salmagundi Club, after hard upon fifty years of 
 moving from one house to another, like a poor tenant, and 
 being but a tenant at will, owning only movable property, 
 and little of that, and having no claim upon a square foot 
 of the earth on which it walked — having been at the 
 mercy of eleven landlords, and at one period (for want of 
 a landlord) passing like only the shadow of a club, 
 among the studios and homes of its members — has itself 
 become a landlord and a landowner. 
 
 During the aforesaid somewhat vagrant period, uncon- 
 scious of its destiny, the club was drifting from one 
 chance mooring to another, always within a certain lim- 
 ited area of the ocean of the city's traffic; never below 
 Prince Street, where the studios began, or above Twenty- 
 second Street, and lying at anchor for twenty years just 
 of the pleasant shore of Greenwich village, but always 
 circling and circling about Washington Square, not so 
 much like a rudderless ship as like a wise old bird pre- 
 paring to alight, and alighting at last in a nest of its 
 own. 
 
 Forty-seven Fifth Avenue, with its additions and im- 
 provements, its ^furnishings {which came in generous 
 donations like the fund that made its possession possible), 
 its comforts, and its precious atmosphere, transferred 
 
undisturbed and intact, is that nest. The new house 
 is fairly set between comely and respectable neighbor 
 houses and opposite to the Old First Presbyterian 
 Church, which rises from its ample glebe against the eve- 
 ning shy behind its massive bell-tower borrowed from 
 Magdalen College, Oxford, and doubtless built seventy- 
 four years ago to give joy to the members of an artists* 
 club that in the fullness of time was destined to sit at its 
 feet and dwell in its shadow. 
 
 Finding itself thus comfortably established, domiciled^ 
 situated, and settled down in some degree of affluence, the 
 mind of the club naturally reverts to its early days and 
 demands the story of its beginning, its vicissitudes, strug- 
 gles, trials, and successes, which will be found in the fol- 
 lowing pages. 
 
 WILLIAM HENRY SHELTON 
 
 Forty-Seven Fifth Avenue 
 March First, 1918 
 
TABLE OF CONTENTS 
 
 Foreword v 
 
 I. The Birth of the Club .... 1 
 II. The Revival of the Club . . . .14 
 
 III. The Exhibition Period .... 31 
 
 IV. The Salmagundi becomes a Real Club 49 
 V. Fourteen West Twelfth Street . . 74 
 
 VI. The Library 95 
 
 VII. Some Social Occasions 115 
 
 Appendix 133 
 
 Index 143 
 
LIST OF ILLUSTRATIONS 
 
 Salmagundi Club Book-Plate . . Opposite first half-title 
 
 Portraits of Early Members — J. Scott Hartley, 
 Joseph Hartley, W. H. Shelton, F. S. Church, 
 Will H. Low Frontispiece 
 
 Solitude, two sketches by Will H. Low .... 2 
 
 Boxing in Hartley's Studio, from a drawing by Will 
 H. Low 6 
 
 Solitude, by Alfred E. Emslie, and Abandoned, by 
 W. H. Shelton 12 
 
 "The Longshoreman's Morning," by F. S. Church . 13 
 
 Portraits of Early Members — George Inness, 
 Jr., Carl Hirschberg, C. Y. Turner, G. W. May- 
 nard, A. C. Morgan 20 
 
 Something Fresh, by Howard Pyle 26 
 
 From sketch in possession of Mr. Alexander Morgan 
 
 Finis, by A. C. Morgan 30 
 
 Club Members, 1879, by H. P. Share .... 34 
 Drawn for u Young Artist Idfe in New York" by William 
 H. Bishop, in Scribner's Monthly 
 
 Sarony's Invitation to George Inness ... 42 
 Invitation to Reception, November 30, 1883 . . 48 
 Drawn by Frank Russell Green 
 
 Invitation to House Warming, at 49 West 22nd 
 
 Street 60 
 
 Drawn by Frank Russell Green 
 
 House Front, 14 West l%th Street, by Charles S. Chap- 
 man 74 
 
t x 3 
 
 Billiard-Room, 14 West 12th Street, by Charles S. Chap- 
 man 76 
 
 Office, 14 West 12th Street, by Charles S. Chapman . 78 
 
 Gallery, 14 West 12ih Street, by Charles S. Chapman 80 
 
 Glimpse into Grill-Room from Billiard-Room, 
 
 14 West 12th Street, by Charles S. Chapman ... 82 
 
 Hall, 14 West 12th Street, by Charles S. Chapman . . 86 
 
 Grill-Room, 14 West 12th Street, by Charles S. Chap- 
 man 90 
 
 Stairway, 14 West 12th Street, by Charles S. Chapman 94 
 
 J. Sanford Saltus, in Court Costume of Edward 
 
 VII, by George Reevs . 98 
 
 Library Mugs 100 
 
 The Abbey Mug . 104 
 
 Reproduction of Title-Page of "Costumes of the 
 
 Nineteenth Century" 108 
 
 Library, 14 West 12th Street, by Charles S. Chapman 112 
 
 Halloween Dinner, 14 West 12th Street, by Charles 
 
 S. Chapman 116 
 
 Parlor, 14 West 12th Street, by Charles S. Chapman . 120 
 
 Card-Room, 14 West 12th Street, by Charles S. Chap- 
 man 124 
 
 Stairway, 14 West 12th Street, by Howard Giles . . 128 
 
 House Front, 47 Fifth Avenue, from a photograph . 135 
 
THE SALMAGUNDI CLUB 
 
 A History 
 
A TOAST FOR THE SALMAGUNDI CLUB 
 
 Old Friends and new who gather here, 
 May kindly thoughts and friendly cheer 
 Pervade our feast and warm our hearts. 
 May we play fair in all the parts 
 That life assigns. May Arty not pelf, 
 Be boss, and Justice stand upon our shelf. 
 
 And old f riends gone, we greet you too — 
 We drink a silent toast to you. 
 
 Old Friends and new — the old — I give my hand to you, 
 The new — why, some day you '11 be old — / give my hand 
 to you. 
 
 J. B. CARRINGTON 
 
A HISTORY 
 OF THE SALMAGUNDI CLUB 
 
 CHAPTER I 
 
 ITS BIRTH 
 
 The infant Salmagundi was born at 596 Broad- 
 way, in the City of New York, at eight o'clock 
 on a Saturday night in the month of November 
 (it may have been December), in the year of Our 
 Lord eighteen hundred and seventy-one. It is a 
 comfort to be precise about the hour of the day 
 and the day of the week, and a comfort to feel 
 that the circumstance of the child's eyes opening, 
 as they did, on the skylight of a studio, had some- 
 thing to do with its after career in the world of art. 
 
 The infant was an infant club, or rather an in- 
 fant destined to grow up into a club. Like its 
 predecessor, the Century Association, the Salma- 
 gundi Club had an humble beginning in a group 
 of art students who formed a sketch class for 
 mutual improvement. The first meeting of the 
 original Sketch Class was in the studio of the 
 late Jonathan Scott Hartley, in the old building 
 then standing at 596 Broadway, just below the 
 
[ 2 ] 
 
 corner of Broadway and Houston Street. It was 
 a custom inaugurated at the beginning to select 
 a subject for illustration, and on the following 
 Saturday evening a half-dozen sketches would be 
 displayed on the Studio easel for mutual admi- 
 ration and friendly criticism. 
 
 The members of the class during the first win- 
 ter were F. S. Church and Will Low from the 
 studio building adjoining Grace Church, and Fred 
 Vance, from a neighboring Broadway studio, and 
 from the studios in the building where the class 
 met, besides the Hartleys, W. H. Shelton and 
 Alfred E. Emslie, an English artist who was then 
 illustrating Robert Bonner's "New York Ledger 99 
 and who is now a portrait-painter in London. 
 J. P. Andrews, who painted still life, mostly 
 shells and English walnuts, was always present, 
 but never showed any of his work on the easel. 
 
 There were some at those early evening gath- 
 erings who were not artists (the club was never 
 without laymen), notably Joseph Hartley and 
 John, a younger brother, who led in the boxing, 
 and Will Symons and Alec Kirkman and one 
 McDonald, friends of the Hartleys who came 
 from Brooklyn to join in the festivities. 
 
 There was no formality or any official proceed- 
 
 ) 
 
SOLITUDE 
 Two sketches by Will H. Low 
 
i 3 : 
 
 ings in these early meetings, but at a later period 
 Joseph Hartley was secretary as well as chair- 
 man, and was regarded as the highest authority 
 on parliamentary law by virtue of his long serv- 
 ice as secretary of a Masonic lodge in Brooklyn. 
 Mr. Hartley's acquaintance in Brooklyn was the 
 natural result of having, on his arrival in New 
 York, made his home on the Brooklyn side of 
 the river with his maternal uncle Kirkman, who 
 was an eccentric and very pious old gentleman, 
 a Hard-Shell Baptist, and the proprietor of a 
 small soap factory. It was under the management 
 of his son Alec, who succeeded him, that the small 
 factory grew into a great business. Although • 
 Alec is long dead, a millionaire layman, it should 
 be remembered that he was an active participant 
 in the festivities that surrounded the birth of the 
 club, and Salmagundians should take off then- 
 hats to the great Kirkman vans when they pass 
 in the street. 
 
 The studio was a large room lighted by a broad 
 skylight and by three windows looking down on 
 Broadway. From these windows a few weeks be- 
 fore the first meeting of the Sketch Class, we had 
 watched the passage up Broadway of the Russian 
 Grand Duke Alexis, escorted by the Ninth Regi- 
 
C 4 3 
 
 ment of the National Guard, led by its famous 
 Colonel, Jim Fisk, who was shot a few weeks later 
 at the Grand Central Hotel. 
 
 The room along its walls was crowded with 
 statuary and barrels and plaster casts. There 
 was a cook-stove in one corner and bunks behind 
 screens. The dining-table was a dry-goods box 
 from the Hartley brothers' store in Walker 
 Street, and the conveniences for living were on a 
 scale of elaboration quite in keeping with the fur- 
 niture. The Hartley brothers, who kept a unique 
 store for the outfitting of pack-peddlers, were 
 able to live more comfortably, but the bohemian 
 life in the studio just suited them. It was bache- 
 lor housekeeping; the plaster used in casting 
 changed the windows to ground glass and frosted 
 the furniture and silvered the cobwebs that clung 
 to the angles of the walls and to the frame of the 
 skylight. 
 
 Among the occasional visitors to the studio on 
 those early Saturday nights were some choice 
 characters who contributed generously to the 
 fund of amusement. "Alf " Becks, a young Eng- 
 lish actor who delighted in howling recitations 
 in a broad Lancashire dialect, imparted a theat- 
 rical flavor to these picturesque meetings of the 
 
C 5 3 
 
 Salmagundi. " Shamus O'Brien," "Laying a Gas- 
 Pipe down," "The Explanatory Showman," and 
 countless stories more broad than brilliant were 
 then received with shouts of merriment by the 
 boys whose bald heads nowadays wag wearily at 
 better things at our own meetings and elsewhere. 
 
 George David Brown, of the "New York Her- 
 ald," who did the police reports and who, with 
 his swarthy features and straight black hair, 
 looked more like an Indian than like a white man, 
 was a frequent guest in those days and enter- 
 tained us with ghost stories from his own abun- 
 dant experience. He was a firm believer in spirit- 
 ual phenomena, and when he could gather an 
 appreciative group around him in some shadowy 
 corner of the studio, he spun his awful yarns with 
 a droll humor that never failed to fascinate his 
 hearers. He had seen strange sights — or rather 
 his ghost had — standing at the window of his 
 Christie Street room looking out into a blinding 
 snowstorm while his dead body lay behind him 
 on the bed. One of his girls, who died young, had 
 a strange way of coming to the outside of a Ful- 
 ton ferryboat window when he crossed the river 
 on stormy winter nights when the broken cakes 
 of ice were crunching and grinding under the 
 
C 6 3 
 
 paddle wheels. He was dramatizing Bret Harte's 
 "M'liss," and claimed that he was writing a life 
 of Christ. Brown was an original member of the 
 Thirteen Club and a conspicuous figure at Pfaff's. 
 Marshall, the engraver, in a rusty silk hat, who 
 was at about that time engraving his famous 
 head of Lincoln, and O'Donovan, the sculptor, 
 a Virginian, who was afterwards one of the orig- 
 inal members of the Tile Club, were sometimes 
 present at these early meetings. "Ferd" Ward, 
 then a handsome boy, who afterwards achieved 
 notoriety in Wall Street and wrecked the fortune 
 of General Grant, came once or twice with his 
 brother Will, who was employed in the sub-treas- 
 ury, and was regarded as a literary person be- 
 cause he was doing night work on Appleton's En- 
 cyclopaedia. Young Crab tree, a son of the sprightly 
 Lotta, was another visitor at our early meetings. 
 
 Another frequenter of these early meetings 
 was Eugene Pfister, a young sculptor, who had 
 fallen in love with the daughter of his master, a 
 famous sculptor in a neighboring city. He had 
 written a paper on Art for the 44 Atlantic Monthly" 
 which not being returned, he assumed had been 
 accepted, and he had come to New York all 
 aglow with his success to win further fame as a 
 
C 7 1 
 
 writer and so to win the hand of his lady-love. 
 
 After the criticisms and after the semi-official 
 proceedings, which ended in the selection of a 
 subject for illustration at the next meeting, the 
 crowd smoked a good deal and ate sausages 
 baked in a top coat of pie-crust and drank coffee. 
 Sometimes there was singing, and always rounds 
 with the gloves that made the plaster casts dance 
 on their pedestals and filled the air with dust like 
 the dust in a mill. Occasionally the foils cut some 
 figure in the entertainment, but no member was 
 much up in the art of fencing. The rusty blades 
 with buttons on their tips and the wire masks 
 were more for studio decoration than for use. A 
 drawing now hanging in the library of the club 
 shows one of those early meetings in the Hart- 
 ley studio. It was made by Will Low, who is 
 looking in at the left side of the picture, and was 
 used to illustrate an article on "Young Artists' 
 Life in New York" in "Scribner's Monthly," 
 which afterwards became the "Century Maga- 
 zine." Mr. Hartley, the sculptor, in a linen tunic 
 is preparing the sausages over a cook-stove and 
 at the same time warning off the boxers who are 
 dodging about the center of the room. The screen, 
 covered with the sketches of the evening, stands 
 
C 8 ] 
 
 to the right, and it is John Hartley who is setting 
 the table. H. P. Share sits on a turn-table in 
 the right-hand foreground, and behind him are 
 M. J. Burns and Alfred Becks. W. H. Shelton sits 
 astride a chair in front of the easel, and in the 
 group behind him W. W. Denslow is recognizable 
 in the silk hat. 
 
 C. Y. Turner, who was then employed by a 
 photographer on crayon work, joined the class 
 the second winter. During that winter F. S. 
 Church brought to one of the meetings Carroll 
 Beckwith, a slender lad from Chicago who was 
 on his way to Paris to study art as the protege of 
 his uncle Sherwood. 
 
 There were some interesting characters in the 
 studios opening on the long hall at 596 Broad- 
 way, who were not identified with the Sketch Class. 
 Mr. Whitehorn was one of the old Academicians, 
 who painted portraits from photographs, and was 
 noted for his gallantries. John Lane was a myste- 
 rious and forbidding-looking party, who colored 
 photographs and was a receiver of smuggled cigars, 
 which he stored under the floor of his studio, a 
 section of which was movable for that purpose. 
 His studio was a dark and mysterious region, said 
 to be not over-clean, to which no one was admitted. 
 
C 9 D 
 
 John Watts, a son of Mrs. Sefton, the famous 
 old actress, occupied a small studio on the hall, 
 whose walls were covered with water-color draw- 
 ings on woolly paper, of picturesque old buildings 
 about town. When he was not smoking his pipe 
 and contemplating these productions of his brush, 
 he was roaming in bystreets and through unfre- 
 quented sections of the old city in search for an- 
 cient rookeries (lurching on corner lots preferred) 
 sufficiently dilapidated to be worthy of reproduc- 
 tion and a place in his collection. He was never 
 known to sell a picture and seemed to live in mod- 
 est dependence on his family's theatrical past. 
 
 My room-mate, J. P. Andrews, who painted 
 conch shells and English walnuts and certain 
 other inanimate objects, not likely to shrink or 
 decay or otherwise perish, during the long period 
 of reproduction, usually effected a sale of his 
 masterpiece by promoting a lottery among his 
 friends and neighbors, and this success was some- 
 times followed by a celebration that made it 
 necessary to rearrange the poor shells and wal- 
 nuts for another effort. 
 
 There was one studio on the hall that turned 
 out campaign heads on banners at election time. 
 
 Mr. Fowler, the agent or the owner of the 
 
I 10 3 
 
 building, was a frequent and often an unwelcome 
 caller at the studios. He was an old man, slightly- 
 palsied, of a hesitating and diffident manner, and 
 no match for some of his artist tenants. He was 
 watched for on the stairways, dodged in the 
 halls, and doors were locked against him. The 
 particular studio wherein the club was born, 
 when occupied by George David Brown and a 
 sculptor friend (who will appreciate my delicacy), 
 was a guarded citadel into which he could not 
 enter, although the inmates of the castle ob- 
 served his distress through a hole in the door. 
 
 The building at 596 Broadway was next to the 
 famous Helmbold drug-store, which separated us 
 from the Metropolitan Hotel. Niblo's Garden, 
 then a fashionable theater, was a building behind 
 the hotel, with a stage entrance on the rear street 
 and the main Broadway entrance through the ho- 
 tel. Niblo's Garden was destroyed by fire in the 
 summer of 1872, and the fire was a rare spectacle 
 from the south window of the studio I occupied 
 with J. P. Andrews, until the heat of the confla- 
 gration obliged us to close the iron shutter. 
 
 Niblo's Garden was not considered, at that 
 time, as too far downtown, although it was never 
 rebuilt. In fact it was quite a theatrical and 
 
C 11 3 
 
 "show" neighborhood, affording a peculiar out- 
 of-door atmosphere that surrounded the cradle 
 of the infant Salmagundi Club and doubtless rose 
 up to mingle with the atmosphere within that 
 sacred nursery of Art. Tony Pastor's was just 
 around the corner in Houston Street, hard by 
 two English chophouses known as the "House 
 of Lords" and the "House of Commons." The 
 Globe Theater, where George Fox played Humpty 
 Dumpty the year 'round, was on Broadway just 
 above the corner of Houston Street. Niblo's, in 
 1871, had just passed the Black Crook period, 
 but every cellar in the neighborhood was a free- 
 and-easy, or a "Dew Drop Inn," where girl- 
 graduates of the famous ballet served the drinks 
 in pink and blue and red tights. There were lot- 
 teries and gambling-houses on every hand, con- 
 fident of the protection of police headquarters 
 which was close by in Mulberry Street. 
 
 It was the ambition of most of the members 
 of the Sketch Class to do something in illustra- 
 tion, and the art managers of the various illus- 
 trated publications were regarded with expecta- 
 tion not unmixed with awe. The art department 
 at Harpers' was presided over by Mr. Charles 
 Parsons, an amiable gentleman, who held out a 
 
 i 
 
C 12 ] 
 
 cordial hand to new men. The Appletons were 
 preparing an ambitious work, " Picturesque Amer- 
 ica," under the art control of a Mr. Bunce, a 
 nervous gentleman, who was said to be in priv- 
 ate life the gentlest and most lovable of men, but 
 who was liable, on the least provocation from a 
 visiting artist, to fly into a rage and explode like 
 a box of fire-crackers. Will H. Low was already 
 in the employ of this dreaded Cerberus, and we 
 listened with awe and trembling to his reports of 
 events of which he had been a witness. 
 
 "Scribner's Monthly," then published at 743 
 Broadway, was an approachable market. "Frank 
 Leslie's," at the corner of Pearl and Elm Streets, 
 near the shot tower, was a possible market for 
 jokes, and farther downtown were "Wild Oats" 
 in Ann Street, and "Phunny Phellow," and <a 
 German comic paper called "Snederadang." 
 
 My first success was at "Wild Oats" with a 
 full-page drawing of Brigham Young's wives, 
 for which I received twenty-five dollars. The 
 imaginary heads of the Salt Lake ladies were 
 drawn in pencil on a yellow boxwood block made 
 up of a large number of small blocks riveted to- 
 gether. A drawing of my stage-coach, "Aban- 
 doned," afterwards appeared in "Hearth and 
 
SOLITUDE 
 By Alfred E. Emslie 
 
C 13 1 
 
 Home." It was after the first season at 596 Broad- 
 way that F. S. Church came up from Harpers' 
 with a market-basket full of boxwood blocks, the 
 admiration and envy of the class. 
 
 These struggles and successes weave into a wider 
 atmosphere that surrounded the infant club. While 
 the members came together but once a week at 
 the Hartley studio, they met nightly in the base- 
 ment of the National Academy of Design, at the 
 corner of Twenty-third Street and Fourth Avenue 
 in the cast room or in the life class. We some- 
 times looked in at a large room in the Cooper 
 Union where Vinnie Ream was modeling a bust 
 of Peter Cooper, behind a red cord, which kept 
 off the spectators. 
 
CHAPTER II 
 
 THE REVIVAL OF THE CLUB 
 In the spring of 1873, after the second winter of 
 the Sketch Class at 596 Broadway, Mr. Hartley, 
 the sculptor, went abroad for two years' study in 
 Rome, and the class was without a home. There 
 was no lack of studios in which the class might 
 have continued its meetings. Most of the build- 
 ings on Broadway above Houston Street were 
 filled with studios on the upper floors, and the 
 Tenth Street studio building was a fashionable 
 uptown place where society flocked to the artist's 
 receptions. It was quite a different town then. 
 Central Park lay beyond the northern boundary 
 of the city, and Fifth Avenue was not yet built 
 up so far. Between Saint Patrick's Cathedral 
 and the park was one block where high ledges of 
 rock faced each other, towering above the street, 
 crowned with the huts of squatters, and with 
 stable-yards and paddocks of battered tin roof- 
 ing, where goats looked down on the traffic of 
 Fifth Avenue. 
 
 There was a rather shabby and picturesque 
 old building at 896 Broadway, opposite to Lord 
 
C 15 ^ 
 
 and Taylor's, that was destined to be the second 
 home of the Sketch Class. It was in a pictur- 
 esque neighborhood looking down on the wide 
 dooryard of Peter Goelet's house at the corner 
 of Nineteenth Street, where several gorgeous- 
 tailed pheasants and a crumple-horned cow wan- 
 dered about the lawn and looked through the 
 iron fence at the parade on Broadway. The 
 eccentric owner of this peculiar establishment 
 had a carpenter's shop in the basement of the 
 house where he was often seen working at the 
 bench. 
 
 In the ramshackle building there were barbers' 
 shops and chiropodists' parlors opening on the 
 stairway leading up to the studios on the upper 
 floor. Mr. Hartley remained abroad for two 
 years, returning in 1874 or 1875, when he took 
 a studio in the building at 896 Broadway and 
 soon thereafter the Sketch Class resumed its 
 meetings. There is no record of any meeting 
 during Mr. Hartley's absence. The earliest rec- 
 ord in the possession of the club, after Mr. Hart- 
 ley's return, is the secretary's report for Decem- 
 ber 30, 1876, when, among the five candidates 
 voted on for membership on that evening, appear 
 the names of Frederick Dielman, late president 
 
C 16 3 
 
 of the National Academy of Design, and A. B. 
 Frost, the well-known illustrator. 
 
 At that time the class or club seems to have 
 been limited in membership to twenty, and only 
 two members could be elected at one meeting. 
 One month later, on the 30th of January, 1877, 
 we find the record: "It was decided the name of 
 the club shall be 'The Salmagundi Sketch Club.' " 
 The name was the suggestion of J. Scott Hartley, 
 and was, of course, borrowed from the title of 
 the celebrated papers issued by Irving, Pauld- 
 ing, and others from Cockloft Hall in Newark 
 in 1807 under the title "Salmagundi, or Whim- 
 whams and Opinions of Launcelot Longstaff, Esq., 
 and others." A second series of these papers was 
 published in 1819. And as late as 1830 we find 
 the word "Salmagundi" a favorite heading for 
 - the column of clippings in the " New York Mir- 
 ror" which was then the cream of polite literature 
 as conducted by N. P. Willis, George P. Morris, 
 and Theodore S. Fay. 
 
 The word seems to have been of remote Italian 
 origin and was adopted as the name of a salad of 
 many ingredients. In the "History of the Coro- 
 nation of James II," «by Francis Sanford, Esq., 
 printed by Thomas Newcomb, London, 1687, 
 
t 17 H 
 
 "Salmagundy" is mentioned as one of the one 
 hundred and seventy-five dishes served at the 
 Royal table. 
 
 Rabelais uses the word in "Pantagruel" as the 
 name of a " Chatellenie " or Lairdship with a pe- 
 culiar revenue of Cockchafers, Locusts, and Peri- 
 winkles. The spelling in Rabelais is "Salmagun- 
 din," but Thomas Moore adopts the present spell- 
 ing in his " Salmagundian Hymn": 
 
 Hurra! Hurra!' I heard them say. 
 
 And they cheered and shouted all the way, 
 
 As the Laird of Salmagundi went 
 
 To open in state his Parliament. 
 
 "The Salmagundians once were rich, 
 Or thought they were — no matter which — 
 For, every year, the Revenue 
 From their Periwinkles larger grew; 
 And their rulers, skilled in all the trick, 
 And legerdemain of arithmetic, 
 Knew how to place 1, 2, 3, 4, 
 
 5, 6, 7, 8, and 9 and 10, 
 Such various ways, behind, before, 
 That they made a unit seem a score, 
 
 And proved themselves most wealthy men! 
 
 "So, on they went, a prosperous crew, 
 The people wise, the rulers clever — 
 And God help those, like me and you, 
 Who dared to doubt (as some now do) 
 That the Periwinkle Revenue 
 
 Would thus go flourishing on forever. 
 
C 18 1 
 
 "'Hurra! Hurra! ' I heard them say, 
 And they cheered and shouted all the way, 
 As the Great Panurge in glory went 
 To open his own dear Parliament. 
 
 "But folks at length began to doubt 
 What all this conjuring was about; 
 And every day, more deep in debt 
 They saw their wealthy rulers get: — 
 'Let's look (said they) the items thro' 
 And see if what we 're told be true 
 Of our Periwinkle Revenue ! ' 
 
 But, Lord, they found there was n't a tittle 
 
 Of truth in aught they heard before; 
 For they gained by Periwinkles little, 
 
 And lost by Locusts ten times more! 
 These Locusts are a lordly breed 
 Some Salmagundians love to feed. 
 Of all the beasts that ever were born, 
 Your Locust most delights in corn; 
 And though his body be but small 
 To fatten him takes the devil and all. 
 
 "Nor this the worst, for, dearer still 
 Alack, alack, and well-a-day! 
 Their Periwinkles — once the stay 
 And prop of the Salmagundi till — 
 For want of feeding, all fell ill ! 
 
 And still, as they thinned and died away 
 The Locusts, aye, and the Locusts Bill, 
 Grew faster and faster every day! 
 
 "'Oh, fie! Oh, fie!' was now the cry, 
 As they saw the gaudy show go by, 
 And the Laird of Salmagundi went 
 To open his Locust Parliament!" 
 
I 19 3 
 
 I find in the club's copy of- "Rabelais" the 
 following interesting letter from the late Russell 
 Sturgis: 
 
 "April 12th, 1901 
 
 "Dear Mr. Shelton: 
 
 "In Pantagruel, Book II, Chapter 32, the 
 great prince who gives name to the romance gives 
 away the *chatellenie de Salmigondin,' but in 
 Book III, Chapter 2, he gives it this time to Pan- 
 urge, the name of the old lordship being spelled 
 differently in this instance, namely, 'Salmigoun- 
 din.' This second instance is at the beginning of 
 that famous chapter in which it is explained how 
 Panurge ate his wheat in the blade; namely in 
 fourteen days destroyed and used up the certain 
 and uncertain revenue of his manor for three years 
 — and how being remonstrated with by his lord, 
 Pantagruel, he explained that he did not want to 
 be rich, he had never dreamed of such a thing, 
 and thought only of living jolly. But Panurge 
 proposes to give away his lordship and especially 
 its revenue of cockchafers, Book IV, and again 
 Book IV, Chapter 59, a dish of some kind called 
 the 1 Salmigoundin ' is announced but is not ex- 
 plained. It has always been my belief that the 
 
C 20 3 
 
 word was of Rabelais's own coining and meant 
 nothing particular. 
 
 " ' Salmigondis ' (as spelled by Larousse) is a 
 sort of ragout of different sorts of meats and fla- 
 voring ingredients, and apparently hot; but as 
 Irving used the corresponding word, he appeared 
 to have imagined it to be a cold dish, as a salad 
 with oil and lemon juice. ..." 
 
 The name of the club as written in the charter 
 granted in 1880 was ' ' The Salmagundi Sketch 
 Club," and so it appeared on the title-pages of the 
 catalogues of the Annual Black and White Exhi- 
 bitions of the club from 1879 to 1884. The incor- 
 porators were Joseph and J. Scott Hartley, J. 
 Wells Champney, George Inness, Jr., A. C. Mor- 
 gan, Walter Clark, J. Francis Murphy, W. H. 
 Shelton, Milton J. Burns, H. P. Share, and Sid- 
 ney and Charles Osborne. The word "Sketch" 
 has since been removed from the title of the club 
 by official action at Albany. 
 
 From chairman of the Sketch Class, Joseph 
 Hartley became president of the club and re- 
 mained the first president through the exhibition 
 period. He was for a long time treasurer of the 
 club and during the years when its finances were 
 
George Inness, Jr. Carl Hirschberg 
 
 C. Y. Turner 
 G. W. Maynard A. C. Morgan 
 
C 21 } 
 
 in a precarious and uncertain condition, he gener- 
 ously paid the club bills, and advanced funds to 
 carry it over more than one financial crisis. In 
 the early period when he was the only "layman" 
 member, he attended to the club business while the 
 artist-members made the pictures. He was the first 
 secretary as well as the first president and the first 
 layman, and some of his early records are short and 
 to the point, reading like abbreviated cablegrams: 
 
 "27th Dec. Mr. Morgan resigned from com- 
 mittee on Hall. 'Happy as a King.' 
 
 "3d. January 1879. No quorum. Weirdness." 
 
 It should be explained that "Happy as a King" 
 and "Weirdness" were subjects chosen for illus- 
 tration. 
 
 "14th Feby. Valentine's Day. F. Hopkinson 
 Smith proposed G. W. Maynard do. 'Convivial- 
 ity' was selected. 'Silence' was substituted." 
 
 The entries indicate a constant shifting of mem- 
 bership; dropping members for fines or for non- 
 payment of dues and reinstating when accounts 
 were settled; records of members showing sketches 
 and subjects selected. Such names appear in this 
 first book of record as Walter Shirlaw, Howard 
 Pyle, W. A. Rogers, C. D. Weldon, Rufus Zog- 
 baum, Joseph Lauber, Harry Ogden, Gilbert 
 
C 22 ] 
 
 Gaul, T. de Thulstrup, Charles Graham, and 
 L W. Taber. 
 
 Of the two names proposed for membership on 
 Saint Valentine's Day, Mr. Maynard was elected 
 but Mr. Smith's name did not go before the club 
 as it was found that several of the members, who 
 were also members of the Water-Color Society, 
 were determined to blackball him, and I, who had 
 proposed him, had to ask him to withdraw his 
 name. It should be explained here that the Amer- 
 ican Water-Color Society, at that time, was di- 
 vided into two camps, the progressives led by F. 
 Hopkinson Smith and the conservatives who were 
 opposed to F. Hopkinson Smith. The club, at 
 this time, was somewhat narrow in its attitude 
 towards new members. It happened a little later 
 that Stanford White was also proposed for mem- 
 bership, and a member took the floor solemnly to 
 explain that an architect was not an artist. 
 
 On October 20, 1877, the subject illustrated 
 was "Wind," on the 8th of December it was 
 "Hell," and on November 17, "A Frosty Morn- 
 ing." At that meeting "A Calm" was chosen for 
 the next subject, but before adjournment it was 
 changed to "NG." On April 12, 1878, the subject 
 illustrated was "Extremes Meet," and three of 
 
C 23 } 
 
 the sketches have been preserved. One is by Fred 
 T. Vance, who died in the Soldiers' Home at Bath, 
 New York, in 1890; one by H. M. Wolcott; and 
 the third by an unknown hand. These drawings 
 and a few others of that period may be found in 
 a scrap-book in the library marked "Invoices." 
 
 It was the custom of the secretary at these 
 early meetings to read a list of subjects, which had 
 gradually accumulated, and the reading was com- 
 monly accompanied by free comments and cat- 
 calls. When the motion to adjourn came up, it 
 often happened that the ayes and noes were about 
 equally divided and the two factions tried to 
 howl each other down. 
 
 There is evidence of some, who were present, 
 that the reorganization of the club took place at 
 a meeting, held in Mr. Hartley's studio at 896 
 Broadway, which was called for that purpose, and 
 at which I was not present. The first mention of 
 the place of meeting occurs in the entry for Octo- 
 ber 6, 1877, nearly a year after the record begins. 
 It was held on that evening in the studio of C. Y. 
 Turner and Carl Hirschberg, at 896 Broadway. 
 As it was during that month that the club re- 
 moved to No. 1 Union Square, it is probable that 
 its meetings had been held in the Turner-Hirsch- 
 
I 24 ] 
 
 berg Studio for at least a year before leaving 
 that building, and probably the election of Diel- 
 man in December, 1876, had taken place in that 
 studio. 
 
 On October 27, the club went to No. 1 Union 
 Square, where it hired a room from one Huffing- 
 ton, who sold etchings from a portfolio, and who 
 consented to give up his quarters for one night a 
 week for a weekly rental of $3.00. At this time 
 the drink of the club was a mixture of coffee and 
 chocolate called "Salmagundi." This peculiar com- 
 bination had been in vogue since about the time 
 of the choice of the club's name. It was not unusual 
 for a club to adopt an official beverage : that of the 
 New York Etching Club was whiskey and ginger 
 ale served in exceptionally tall glasses. 
 
 During the brief period of its stay in Union 
 Square the club took the first downward step from 
 its austere stand on the subject of soft drinks. 
 The coffee and chocolate had been supplied for 
 years by " Chris," the German janitor at 896 
 Broadway, who continued the same service to the 
 club after the removal to Union Square. If the 
 business meeting was not over when "Chris" ar- 
 rived, the pots were set on the hearth close to the 
 open grate fire. The house committee, commonly 
 
C 25 3 
 
 called the "hash committee," consisted of one 
 member, and at this particular period the house 
 committee was the writer of this history. There 
 had been various propositions to serve beer at the 
 weekly meetings which had met with considerable 
 opposition. One of the leaders of the opposition 
 was James Kelly, an artist, then looked upon as 
 one of the promising illustrators because of the 
 violent action of his horses and of their riders and 
 who has since become a sculptor. One night the 
 house committee instructed "Chris" to fill the 
 pots with beer. The willing janitor timed his ar- 
 rival so as to appear just as the meeting adjourned. 
 The supper was just at that stage when the dry 
 cakes began to stick in the throats of the thirsty 
 members, so that the advent of "Chris" was 
 hailed with vociferous calls for drink. 
 
 The house committee took the two pots, one 
 in each hand, according to custom, and asked the 
 first member reached whether he would have choc- 
 olate, coffee, or salmagundi. Whatever the reply 
 was, beer foamed into the cup and into all the 
 other cups as they were extended. The old club 
 drink was not given up altogether, but thereafter 
 steins had their places among the cups and saucers. 
 
 In February, 1878, the club moved to a build- 
 
C 26 ] 
 
 ing known as Science Hall in Eighth Street, op- 
 posite to the Mercantile Library. Here it occu- 
 pied permanent quarters of its own, where a few 
 pictures could be hung on the walls and where the 
 dishes and crumbs of the supper could remain un- 
 disturbed through the week. With the occupancy 
 of the new room the meeting night was changed 
 from Saturday to Friday because Saturday was 
 "Century Night" at the old club in Fifteenth 
 Street, and George Maynard was a member of 
 both the Salmagundi Club and the Century Club. 
 It happened that Friday night was also the meet- 
 ing night of a society of long-haired progression- 
 ists, male and female, which was always in ses- 
 sion holding a solemn conclave on the first floor 
 of the building when the Salmagundi Club mem- 
 bers came in. 
 
 Howard Pyle was one of the popular members 
 of that period when a member's popularity de- 
 pended largely on the quality of his work. He was 
 usually too busy to attend the meetings, but it 
 was only a step from Eighth Street to the studio 
 building adjoining Grace Church, and a commit- 
 tee of one was frequently appointed to bring him 
 down. Sometimes he would be found writing, but 
 more often with a sheet of Whatman's paper on 
 
SOMETHING FRESH 
 By Howard Pyle 
 
C 27 3 
 
 his easel moving backward and forward before a 
 wet drawing by the light of a student-lamp, and 
 not to be disturbed or enticed from his work by 
 threat or persuasion. 
 
 The subject chosen for illustration at the first 
 meeting at Science Hall was "Something Fresh." 
 Probably the last subject illustrated at Science 
 Hall was "The End," and Mr. Morgan's amusing 
 treatment of that subject has also been preserved 
 in the scrap-book. F-I-N-I-S in five staggering 
 block letters, is represented carrying off the table 
 and chairs and the two pots that were used for 
 coffee and chocolate. 
 
 It was while the club was at Science Hall that 
 its first exhibition of drawings in black and white 
 was held at the Leavitt Galleries at 817 Broad- 
 way, near Thirteenth Street. Leavitt's corre- 
 sponded to the American Galleries of to-day, and 
 it was there that the great auctions of foreign 
 paintings began. Some of the favorites of that 
 period, conspicuous in all the collections sold, 
 were Meyer von Bremen, Schreyer, Verboeckho- 
 ven, and little Preyer, who usually painted a glass 
 of champagne with the bubbles ascending and a 
 house-fly somewhere in the composition. Still- 
 life pictures were especially popular at that time 
 
I 28 3 
 
 and brought great prices. There was always a 
 group of long-wooled sheep by Schenck, huddled 
 together in the blinding snow. 
 
 The sale took place on the evenings of May 23 
 and 24, 1878. There were 202 drawings sold for 
 $1145 ; about one half of this sum was absorbed in 
 the expense account. This exhibition and sale 
 was reckoned as Number One in the list of Black 
 and White Exhibitions which followed. Accord- 
 ing to the list of members published in the cata- 
 logue of the sale at Leavitt's the club had but 
 twenty-nine members: 
 
 M. J. Burns 
 F. S. Church 
 Walter Clark 
 H. P. Cusachs 
 Frank Fowler 
 F. M. Gregory 
 Jon. S. Hartley 
 Jos. Hartley 
 Geo. Inness, Jr. 
 James Kelly 
 J. Lauber 
 S. G. McCutcheon 
 C. Mente 
 A. C. Morgan 
 C. A. Needham 
 
 Charles Osborne 
 
 G. W. Piggott 
 Howard Pyle 
 W. A. Rogers 
 
 H. P. Share 
 W. H. Shelton 
 W. P. Snyder 
 
 I. W. Taber 
 
 F. H. Tompkins 
 C. Y. Turner 
 C. F. Tuttle 
 F. Vance 
 C. D. Weldon 
 H. P. Wolcott 
 
 A. B. Frost was on the staff of the " Graphic" 
 when he joined the club in January, 1877. The 
 
C 29 3 
 
 "Graphic" was an illustrated daily that repro- 
 duced pen drawings by the newly discovered pro- 
 cess of the Photo Engraving Company, and was 
 the first daily paper in New York to publish illus- 
 trations. According to the record Mr. Frost was 
 " Dropped to go to England 99 within a month after 
 joining. CD. Weldon was a draughtsman on the 
 same paper. W. A. Rogers and Charles Graham 
 were at " Harper's." Nearly all the members were 
 students in the schools of the National Academy 
 of Design and afterwards seceded from that insti- 
 tution with the group of students who founded the 
 Art Students' League at 108 Fifth Avenue. 
 
 Walter Shirlaw had dropped out of member- 
 ship before the exhibition period, but in gratitude 
 for his loan of a series of cartoons in charcoal, 
 which was used as a frieze in one of the rooms 
 during the first occupation of the old Academy 
 Building at Twenty -Third Street and Fourth 
 Avenue, he was made an honorary member. The 
 same distinction was conferred on J. G. Brown in 
 gratitude for a loan of a hundred dollars to help 
 meet the deficit of 1879, but the honor was not in 
 satisfaction of the debt. 
 
 It was one of the curious customs of the club, 
 when a candidate for membership was defeated 
 
C 30 3 
 
 at the election, immediately to propose him for 
 honorary membership. This was usually done in 
 the form of a motion made by his immediate spon- 
 sor and would be persistently brought up, week 
 after week, although no such motion was ever suc- 
 cessful, or was ever expected to be. 
 
 After the auction at Leavitt's the members of 
 the club who wore silk hats and cut-away coats 
 and varnished boots, and carried tightly rolled, 
 ten-dollar umbrellas, walked up Broadway with 
 a smug consciousness of their eminent respecta- 
 bility, while the members who wore soft hats and 
 velveteen coats and seldom cut their hair, re- 
 paired to a neighboring restaurant, which was 
 below the sidewalk, and celebrated the occasion 
 with a dinner. 
 
CHAPTER III 
 
 THE EXHIBITION PERIOD 
 The present chapter covers a period of nine years 
 of trials and achievements, of financial straits, of 
 frequent movings, and of homeless wanderings — 
 but always with the Black and White Exhibi- 
 tions well in hand. We could be idle during the 
 long summers in the mountains or by the sea, but 
 when fall came there were drawings to collect and 
 catalogues to be printed, and a function, that at 
 one time became almost international, to be con- 
 ducted to a success. 
 
 In October, 1879, the club returned to the 
 shabby and picturesque building at 896 Broad- 
 way. The room it then occupied had a square 
 window looking on the hall which served an excel- 
 lent purpose as a setting for Punch and Judy 
 shows, which were given by George W. Piggott 
 and Frank M. Gregory. Looking back so far the 
 room seems to have been mostly window, and the 
 Punch and Judy shows come back more vividly 
 to mind than the more serious things we did there. 
 This room with the hole in the wall was the scene 
 
I 32 ] 
 
 of the club's activities for a year, and the first of 
 the series of Black and White Exhibitions was 
 managed from this room. It was an event in the 
 art world of that day, an event by which the 
 Salmagundi Club emerged from obscurity into 
 prominence — so there was something besides 
 the Punch and Judy show that came through the 
 hole in the wall. 
 
 It appears from the record that the members 
 supplied from their studios various decorations 
 for the room, and that Napoleon Sarony's contri- 
 bution was a Swedish child's sled in many colors 
 which was placed on the piano. One evening there 
 was a contest in rapid chalk drawing, for which 
 large stretchers of gray paper were placed on ea- 
 sels and five minutes were allowed, within which 
 time the picture must be completed or the work 
 abandoned at the fall of the gavel. M. J. Burns, 
 H. P. Share, Francis Murphy, and Napoleon 
 Sarony were among the successful contestants. 
 The quartette for the evening was led by M. Gas- 
 ton Fuerdent, who had just thrown the whole art 
 world into a ferment by his attack on the Di Ces- 
 nola Collection at the Metropolitan Museum. In 
 the singing M. Fuerdent was assisted by Charles 
 Osborne, Alexander C. Morgan, and Charles Har- 
 
C 33 J 
 
 rison. A little later Frank Fowler was the favor- 
 ite tenor of the club quartette and Charles Os- 
 borne was the deep, deep bass. 
 
 In 1879, while in this room, the club was com- 
 missioned by "Scribner's Monthly," which after- 
 wards became the "Century Magazine," to illus- 
 trate an article by William H. Bishop, entitled 
 "Young Artist Life in New York." 
 
 There were some curious propositions made to 
 the club from time to time. One sympathetic 
 maiden-lady proposed to leave her fortune to the 
 club, to be administered in the interest of indi- 
 gent artists. Land companies offered lots in the 
 country; authors applied to have illustrated serial 
 articles (which were not yet accepted) , proposing 
 to divide with the club the large sums they antici- 
 pated receiving from some magazine. There is 
 one proposition on record from the "Century 
 Company," that a new cover for the "St. Nicho- 
 las" should be made the subject of one of the 
 club's weekly contests. Nothing, however, reads 
 more absurdly, in the light of present-day views, 
 than the secretary's record for November 12, 
 1880, while the club was still in its Punch and 
 Judy room, showing that a proposition was ac- 
 tually received from the Metropolitan Museum 
 
C 34 1 
 
 to decorate one of its rooms in black and white. 
 The infant museum was then in Fourteenth Street. 
 
 In the fall of 1881 the club hired a portion of 
 the large studio of Robert Minor in the old Uni- 
 versity Building in Washington Square. The first 
 meeting of the season was held in the chapel 
 of the University, the new room not being ready. 
 The Minor Studio was originally a hall or class- 
 room of huge proportions so that when one end 
 was screened off for the club, an exceptionally 
 large studio remained. The walls were covered 
 with gray burlap, and under the high ceiling, to- 
 gether with the other generous dimensions of the 
 room, there was a new feeling of space and free- 
 dom and importance. 
 
 At this time a revival of interest in the art of 
 etching was taking hold of the public and of the 
 painters. It was in the Minor Studio that Charles 
 Volkmar, the potter of the club, who had already 
 etched on copper, gave a series of lessons to some 
 of his fellow members. The charm of the first bit- 
 ten line and the initiation into the mysteries of 
 the use of the blue and green acid are pleasantly 
 associated with this room in the old University 
 Building to more than one painter who afterwards 
 enjoyed wide reputation as an etcher. 
 
C 35 ] 
 
 An etching press was set up, and with the enthu- 
 siasm of beginners the club exhibited in the fol- 
 lowing December its first Annual Portfolio of 
 Etchings which was also its last. 
 
 There are other associations connected with 
 this period in the University Building which were 
 less rosy, for before spring the club found itself 
 in serious financial distress. This was a chronic 
 condition, but the case was now more aggravated 
 than usual following the close of the Third Exhi- 
 bition which had left a debt of nearly nine hun- 
 dred dollars in its wake. The preceding exhibi- 
 tion, it may be mentioned, had left a deficit of 
 over seven hundred dollars. The outlook was 
 gloomy; there was even talk of disbanding the 
 club. 
 
 The council of the Academy returned, how- 
 ever, a hundred dollars of the rent and Mr. John 
 Taylor Johnston, who was interested in the work 
 the club was doing, sent his check for fifty dollars. 
 These were the only offers of assistance that the 
 club accepted, but means were found to tide over 
 the difficulties and with commendable courage 
 the Academy was hired for another year. 
 
 The room in the University had to be given up, 
 however, and the following season began a period 
 
C 36 ] 
 
 of meetings in the studios and at the homes of 
 members which continued throughout the year. 
 
 During one of the meetings at the University, 
 J. Scott Hartley, the sculptor, confided to me that 
 he intended to make a disastrous exposure that 
 evening of "the ways that were dark" as prac- 
 ticed at a set of seances then being held by the 
 famous Eddy Brothers in Eighth Avenue. He was 
 a man of peculiarly matter-of-fact turn of mind, 
 and the faith which some of his friends reposed in 
 the manifestations had so irritated him that he 
 had resolved on this course. A half-dozen of us 
 agreed to accompany him and witness the disas- 
 trous exposure. 
 
 It should be stated here that Mr. Hartley's father- 
 in-law, George Inness, was a Swedenborgian, and 
 was disposed to look leniently on the supernatural, 
 and it was after some heated discussions at home 
 that Mr. Hartley determined to treat Mr. Inness 
 to a practical exposure of spiritualistic fraud. 
 
 So on a certain winter's night our little party 
 filed out of the stone portals of the old University 
 in time to "take in" the entertainment in Eighth 
 Avenue. 
 
 A few of the faithful were already assembled 
 in a second-floor front room over a second-class 
 
C 37 3 
 
 shop. We left our coats and hats and half-dollars 
 in the back parlor. The front room had the usual 
 two windows looking out upon the street, and an 
 open door near the left-hand corner opening into 
 the bedroom at the end of the hall. One of the 
 guests was a prominent artist's model of that 
 day, the wife of a newspaper reporter, whom she 
 had married during his* career in London, and 
 whom we all knew. 
 
 The entertainment was divided into two parts, 
 the first of which was an exhibition of the fa- 
 mous materializations. The gas was extinguished ; 
 a paper cylinder was placed over the one kero- 
 sene lamp left burning on the mantelpiece, and 
 this luminary, together with the light emitted 
 through the dingy isinglass of the coal stove, sup- 
 plied the dim religious twilight for the first in- 
 stallment of horrors. We observed that the faith- 
 ful believers were assembled about the stove 
 opposite to the door of the bedroom out of which 
 the spirits were to come and the strangers, in- 
 cluding ourselves, occupied the other end of the 
 room. All the preliminaries having been satis- 
 factorily arranged, the elder brother, who spoke 
 with a peculiar nasal twang, came in from his at- 
 tendance on the outer door and announced to the 
 
C 38 ] 
 
 company that, although he was suffering from a 
 very bad cold, "s'long as so many of the friends 
 were present," he would "try to do somethin' for 
 them." He then retired to the bedroom, taking 
 considerable time to dress for the first male spook, 
 after which the others continued to come more 
 promptly until the turn of the female spirits came, 
 when there was the usual long wait incident to 
 the radical change of costume. For my part I was 
 ready enough to be deceived, but the nasal drawl 
 of every ghost robbed the entertainment of all 
 illusion. Strangely enough, this peculiarity was 
 not noticed by the believers, who several times 
 announced that the manifestation was for them. 
 Once the mysterious visitor was a child, and in 
 this case the attempt at illusion consisted of a 
 child's dress draped around the medium's leg 
 below the knee and pushed out of the bedroom 
 door. 
 
 After this performance there was a short re- 
 cess, during which the faithful discussed the 
 manifestations with bated breath, after which the 
 entertainment continued with a variety perform- 
 ance in the full light. Across one corner of the 
 room a blanket was stretched from the bedroom 
 door to the pier glass and from behind this we 
 
C 39 ] 
 
 were treated to doleful music from a variety of 
 musical instruments. When the music from the 
 violin was sounding softly from behind the cur- 
 tain, the neck of the instrument now and then 
 floating into view above that barrier, our skep- 
 tical sculptor, with the spring of a panther, 
 darted across the room and under the folds of 
 the blanket. I only remember that he failed to 
 find the human agent he had expected to en- 
 counter, and his action only excited the indigna- 
 tion of the performers and the believers. 
 
 We must have returned at this time, after leav- 
 ing the Minor Studio, to the original mixed drink 
 of the club, for we learned, during our wanderings 
 among houses and studios, where the wives of the 
 members made chocolate thin and where they made 
 it thick. 
 
 At some of the meetings in the studios there 
 were models, draped or nude, and the evening was 
 devoted to serious study. On one occasion a pro- 
 fessional model then much in vogue among the 
 military painters took the stand in the uniform 
 of a Zouave of '61. The pose was a difficult one, 
 with the heavy gun at 44 charge bayonet," and the 
 figure poised forward in action suitable to that 
 
I 40 D 
 
 command. Some question of his endurance had 
 put the man on his mettle and when rest was 
 called he declined to sit down. In short, he set 
 his teeth and his muscles in a supreme effort to 
 break the record for holding a difficult pose. He 
 was in the presence of some of his chief patrons, 
 and the race of endurance against time contin- 
 ued until his face became white like chalk and 
 his muscles so set that he had to be taken down 
 and straightened out like an automaton. 
 
 On another occasion the club was treated to 
 a different pose after the business meeting was 
 over. It was in the studio of a landscape painter, 
 and one end of the fine room was centered on a 
 heavy gold frame from which a six-foot upright 
 canvas had been removed. In front of this frame 
 stood the softly carpeted model stand and dra- 
 peries were in the frame for a background. * 
 
 "Be seated gentlemen/' said the landscape 
 painter, "and have your working materials at 
 hand, for I am going to give you a little surprise 
 this evening. With that he turned the studio re- 
 flector full on the tall gold frame and, drawing 
 the silken draperies aside, there tripped through 
 the opening and out upon the red carpet the 
 daintiest model that ever was seen, affording 
 
Z 41 1 
 
 possibly the very first of what have since been 
 called living pictures. 
 
 During its migratory days and its days of 
 small rooms, the club met on special occasions 
 in the great reception-room at Sarony's Photo- 
 graph Gallery on Union Square. It was the same 
 room in which the Tile Club long held its meet- 
 ings and painted plaques and told rare stories. 
 This room, one flight up, contained the little 
 photographer's collections of bric-a-brac and cu- 
 rios. At a club smoker we welcomed our guests 
 among Russian sleighs, Egyptian mummies, In- 
 dian pottery, Japanese armor, mediaeval arms 
 and groups of statuary and eastern draperies. 
 At one of these receptions the invitations were 
 printed on the top and bottom of sheets of What- 
 man paper, leaving a space between for a drawing 
 by a member of the club, like the drawing made 
 by Napoleon Sarony on the invitation to George 
 Inness. Two hundred of these elaborate invita- 
 tions were decorated and signed by members. 
 The Tile Club at work could be seated around 
 a long table at one end of the room, but on these 
 great occasions the Salmagundians occupied the 
 whole floor and Chinese gods of many colors and 
 grinning crocodiles looked down from wall and 
 
i 42 n 
 
 ceiling, through wreaths of blue smoke, on the 
 revelers, among whom the little photographer 
 himself was chief mountebank as well as hospit- 
 able host. He usually entered the room at a 
 crouching walk, by which he reduced his height 
 to a matter of three feet and often with his wig 
 in his hand or cocked forward on his nose. It 
 was not an uncommon ceremony to pick him up 
 and pass him around as if he were a piece of 
 animated bric-a-brac. One summer night at the 
 Gregory Studio in Washington Square, which was 
 on the ground floor of the Benedict, the little 
 man became so angry upon the rejection of a can- 
 didate he had proposed that he made an abrupt 
 departure by the window instead of by the door 
 and was not seen again for months. 
 
 These receptions given by the Salmagundi 
 Club were notable events in the art year and 
 shared the honors with the annual reception of 
 the Water-Color Society at the Academy. F. Hop- 
 kinson Smith, before he was known to fame, 
 and Colonel Ke-arter, before that delightful old 
 Southern gentleman was amplified almost beyond 
 recognition by his old friends in the Salmagundi 
 and the Tile Clubs, were always jointly on tap. 
 
 The Colonel, at that time, had developed no 
 
In hoc eft hoax, cvm qviz et jokefez, 
 Et finokem, toaftem, roaftem folkfez. 
 Fee, &W, firm. Psalmanazar. 
 With baked, and.bioil'd, and ftew'd and toaft'd, 
 And fried and boil'd, and fraok'd and roaft'd* 
 We treat the town. 
 
 The Salmagundi Sketch Club 
 
 wili be 
 
 pleased to receive you 
 
 Friday Eve., Dec. 17th, l88o, 
 8.3O o'clock. 
 
 3 7 Union Square. 
 
 SARONY'S INVITATION TO GEORGE INNESS 
 
C 43 3 
 
 relatives whatever, and besides himself, the only 
 characters in the story were his factor at New Or- 
 leans, who had failed to forward his remittance, 
 which was an advance on the next year's cotton 
 crop, and the damned Yankee postmaster who, 
 under those trying circumstances, actually re- 
 fused to lend the Colonel the loan of a postage 
 stamp. In his honest indignation the Colonel be- 
 lieved that he was perfectly justified in shooting 
 the postmaster. 
 
 Ned Abbey, with smiling white teeth, and Ar- 
 thur Quartley, in a Japanese grass skull-cap, and 
 Stanley Reinhart and Theodore Robinson were 
 usually to be found in the throng of smokers. 
 
 The Fourth Exhibition, in 1882, which was con- 
 ducted while the club was still on its migrations, 
 was the first financial success, it actually leaving a 
 balance on the right side of the ledger of $253.61. 
 With this encouragement the club gave up its 
 wanderings, and, in the fall of 1884, the meetings 
 began in the studio of the secretary, Frank M. 
 Gregory, in the Benedict, Washington Square, 
 which continued to be the headquarters of the 
 club until the Annual Black and White Exhi- 
 bitions came to an end in 1887. Mr. Gregory's 
 studio was in the room on the ground floor of the 
 
C 44 ] 
 
 building, at the right as one enters and opposite 
 to the office. This studio in the Benedict is the 
 only meeting-place of the Salmagundi Club dur- 
 ing the twenty-four years of its wanderings, be- 
 fore settling in Twelfth Street, that remains as it 
 was when the club occupied it. Elsewhere the 
 buildings have been torn down or the old club 
 quarters have been altered beyond recognition. 
 
 The club dues had always been low, and there 
 was a time in its early history when the monthly 
 fee was fifty cents, and that not for a year, but 
 for the "season," which meant for the period 
 when meetings were held, with no fees for three 
 or four months when the members were supposed 
 to be in the country. The following circular, is- 
 sued to the members by the treasurer during the 
 second year in the Gregory Studio, which was the 
 year of the Seventh Black and White Exhibi- 
 tion, a public function involving heavy expendi- 
 ture and usually resulting in a considerable loss, 
 shows how pitifully inadequate the income of the 
 club was for the business in hand. The circular 
 speaks for itself : 
 
 "November 10th, 1885 
 
 "At a meeting of the Salmagundi Club, held 
 November 6th, the question of finances was dis- 
 
t 45 3 
 
 cussed at length and it was decided to raise the 
 dues, as the present receipts would hot cover ex- 
 penses, including rent. 
 " It was resolved: — 
 
 "That the dues be raised from $7.00 to $10.00 
 for the season, but if paid before January 1st, 
 1886, $8.00 would be received in full payment of 
 members' dues; also that there was to be no fur- 
 ther collections for beer, etc. which was to be pro- 
 vided by the club. 
 
 "Respectfully 
 
 "A. C. Morgan 
 
 "Treasurer" 
 
 From 1879 to 1887 the Salmagundi Sketch Club 
 had a national, even an international, reputation 
 through its annual exhibitions of Black and White 
 art. These exhibitions were open to all exhibitors 
 (the exhibits passing before a jury of club mem- 
 bers) and were always announced as "Under the 
 Auspices of the Salmagundi Sketch Club." The 
 exhibition which was held at the Kurtz Galleries 
 in the winter of 1879 was the first of the series of 
 such exhibitions that gave the club its wide repu- 
 tation as the Black and White Society. The pub- 
 lishers took an immediate interest, showing the 
 
C 46 D 
 
 original drawings from which recent illustrations 
 had been made. The "ScribnerV collection, in 
 that year, was numbered together from 94 to 127, 
 and the exhibits of the "Daily Graphic," from 151 
 to 159. 
 
 In 1880, 1881, and 1882, these exhibitions were 
 held in the Academy of Design as were those of 
 the American Water-Color Society. In 1883 the 
 exhibition was at the galleries of the American 
 Art Association (formerly Kurtz), and again in 
 1884 at the Academy. The public, by this time, 
 seemed to have lost somewhat of its interest in 
 black and white exhibitions, but the club, usually 
 at a loss, continued to struggle on in the discharge 
 of its self-imposed public duty. In 1886 and 1887 
 it had returned to the American Galleries to join 
 hands with the Architectural League in those two 
 years, which stand as the first and second exhi- 
 bitions of that flourishing society. Thus, as the 
 Salmagundi Sketch Club retired from the exhibi- 
 tion field, it had the honor of introducing to the 
 public a sturdy young organization which con- 
 tinues to provide one of the annual exhibitions to 
 a public vastly more critical. 
 
 The magazine publishers had taken a lively in- 
 terest in these black and white exhibitions from 
 
C 47 3 
 
 the first, the "Century," "Harper's," and "Scrib- 
 ner's" being always represented by a large num- 
 ber of their best drawings, framed and exhibited 
 by themselves. One year at the Academy there 
 was a particularly fine collection sent over by the 
 London "Graphic," consisting of the drawings of 
 C. Green, Hubert Herkomer, Luke Fildes, Frank 
 Holl, A. B. Houghton, and others who were the 
 leading English illustrators. By this means the 
 public was able to meet face to face, as old friends, 
 the original drawings with which they were al- 
 ready familiar through smaller engravings in the 
 magazines and illustrated papers. 
 
 The Exhibition of 1880 was especially interest- 
 ing by reason of a number of cases illustrating the 
 various methods contributing to the reproduction 
 of these drawings. In Case A were all the tools of 
 a wood engraver with underlays and everything 
 to show how a fine woodcut was printed for the 
 magazines. Case B contained copper plates in va- 
 rious states of preparation for the needle, etching 
 tools, and proofs arranged by Charles Volkmar. 
 Case C illustrated the method of producing a lith- 
 ograph, and was equipped by E. A. Thomas, and 
 Case D was an exhibit of their new process by the 
 Photo Engraving Company of 67 Park Place. 
 
C 48 } 
 
 It is interesting, in retrospect, to note the fact 
 that the innocent exhibit in Case D contained the 
 seed of the downfall of these very exhibitions. At 
 first the drawings in black and white had sold at 
 good prices, but year after year, as the methods of 
 reproduction were perfected, the sales diminished, 
 and when the art of photogravure made it pos- 
 sible to sell copies in black and white of the finest 
 paintings at a price for which original drawings 
 could not be made, the exhibitions were no longer 
 possible. 
 
 Another exhibit in that year was a fireplace de- 
 signed and executed by the club in Limoges tiles, 
 under the direction of Charles Volkmar. The 
 work was done in the Punch and Judy room at 
 896 Broadway. It was the maiden effort of the 
 Salmagundi Club in crockery painting. 
 
CHAPTER IV 
 
 THE SALMAGUNDI SKETCH CLASS BECOMES 
 A CLUB 
 
 During the exhibition period the membership of 
 the organization had doubled, increasing from 
 thirty-one to sixty-five, which was a natural re- 
 sult in a society earnestly engaged in a public 
 work. When, however, the exhibition of 1887 
 closed its doors, the mission of the Salmagundi 
 was at an end. It had existed as Sketch Class 
 and Black and White Society for sixteen years. 
 Its membership had been strictly a professional 
 one, but was largely outside the virile element 
 that was shaping the future of American art. 
 
 By this time the early custom of illustrating a 
 subject had gradually gone out of vogue under 
 the stress of work entailed upon the members dur- 
 ing the exhibition period. Unsuccessful attempts 
 were periodically made to revive that original 
 and pleasant feature. When the exhibitions also 
 came to an end, there seemed to be nothing else 
 for the Salmagundians to do but to become a club 
 on social lines. So in January, 1888, after a period 
 
C so 3 
 
 of three months of house-hunting by committees, 
 a floor was taken at 123 Fifth Avenue. 
 
 During those three months of agitation and 
 special meetings a great number of locations were 
 considered. Dr. White, of the Berkeley Lyceum, 
 offered a large hall for the monthly meeting of the 
 club. 
 
 A proposal came from Manager Sedelmayer, 
 who was then exhibiting Munkacsy's "Christ be- 
 fore Pilate" at the Tabernacle on Twenty-third 
 Street, to rent to the club the space behind the 
 canvas. This space was the great stage, which 
 had been prepared for the Passion Play, to have 
 been brought from Oberammergau, and it was 
 the back part of the stage that the club was of- 
 fered on condition that the members should ab- 
 stain from smoking. 
 
 George W. Maynard was president of the club 
 at this time, having succeeded the long presidency 
 of Joseph Hartley, and H. W. Ranger was vice- 
 president. Mr. Ranger was a persistent advocate 
 of keeping the club Bohemian and took the floor 
 on every opportunity to oppose any movement in 
 the direction of what he called "boiled shirts and 
 silk stockings." If the club had any well-defined 
 ambition it was to be the art club of New York. 
 
I 51 1 
 
 It had no rival in sight, but it had been con- 
 ceived in Bohemia and certain influences that had 
 controlled its policy from the beginning seemed 
 determined to keep it there. 
 
 The transition from a working society to a so- 
 cial club, marked by the opening of the new quar- 
 ters at 123 Fifth Avenue, was a first-class event 
 in the history of the organization. It was cele- 
 brated by a house-warming of the good old-fash- 
 ioned sort, at which H. W. Ranger was master of 
 ceremonies. The festivities began on the evening 
 of the 13th of January and the following account 
 of what took place was published in the New 
 York "Sun" the next morning. If a little exag- 
 gerated in its statements, it evidently reeks with 
 the atmosphere of the occasion: 
 
 "Smoke was pouring out of all the doors of the 
 second story of 123 Fifth Avenue in such volumes 
 last night that had the street windows been open 
 there would have been an alarm of fire. But it 
 was all from cigars and pipes — the first pipes 
 seen on Fifth Avenue. There was, also, the first 
 beer-keg ever introduced into a Fifth Avenue 
 domicile. It stood at the head of the stairs until 
 it was wanted and then it rolled into "the front- 
 
I 52 3 
 
 hall room and emptied itself into a hundred stone 
 mugs. These were the outward and visible signs 
 of the house-warming of the Salmagundi Club 
 which had removed in December from its small 
 quarters on Washington Square to this big and 
 stylish building. 
 
 "Almost every inch of the new quarters was 
 decorated, and it would amuse a millionaire to see 
 what far prettier effects true artists caught with 
 a few bits of colored muslin and a number of un- 
 framed pictures than money or the most elabor- 
 ate efforts can reach. A fish net over one door- 
 way and a few yards of red calico, caught up and 
 decked with a brass cuspidor in the middle, over 
 another arch, transformed rude rooms into bow- 
 ers of taste. Just as simple and peculiar were all 
 the decorations, and yet the rooms were as at- 
 tractive as the saloons of a palace. 
 
 "Everybody in the art world was there, for 
 though half the Salmagundi Club opposed the 
 idea of branching out in Fifth Avenue, all now 
 think the idea was excellent. Every member 
 smoked a cigarette an inch thick and nine inches 
 long, drank out of those mugs, and ate Roque- 
 fort cheese, sausages, pickles, olives, and sand- 
 wiches. 
 
C 53 ] 
 
 "Among those who were present were Mr. 
 Perry, of 'ScribnerV; Mr. A. W. Drake and Mr. 
 Fraser, of the * Century ' ; E. W. Kemble the char- 
 acter artist, who misses his train whenever he 
 runs across a queer character worth sketching 
 in the street; George Fawcett Howe, the actor 
 and playwright; J. C. Johnston, of the Bowery; 
 Mr. Ritchie, the steel engraver and chief wit of 
 the club; H. W. Ranger, the master of ceremonies 
 last night, and at other times a landscape painter; 
 Charles Volkmar, the landscape painter, and, his 
 confrere, Bruce Crane; Joseph Lauber, the secre- 
 tary; George Inness, Jr.; C. Jay Taylor, of 'Puck,' 
 whose society sketches include the best tailor- 
 made girls in town ; Charles Graham, the scenic art- 
 ist of 'Harper's'; Thulstrup, the soldier draughts- 
 man of the same establishment; John Durkin, the 
 all-round draughtsman; and many more than a 
 hundred others." 
 
 According to the "Sun" — 
 
 "By far the best fun of the evening was afforded 
 by a trio of the wildest red Indians that ever came 
 to town. They performed the scalp-dance, medi- 
 cine act, and the Indian visit, and the parts of 
 them that were not naked and smeared with 
 paint were hung with the most showy Indian brie- 
 
I 54 D 
 
 a-brac and costumes that Sarony has been able 
 to collect in a dozen years. The Chief 'Not Afraid 
 of Fire Water ' was portrayed by Charles Graham, 
 the young brave 'Dancing Bull' was E. W. Kem- 
 ble, and the dusky squaw, 'Laughing Bourbon' 
 was John Durkin. They made the whole club 
 roar with laughter. After that, it was rumored 
 that Walter Pelham, of the Savage Club, Lon- 
 don, knew a lot of funny stories. He achieved a 
 tremendous reputation as a story collector, but 
 towards morning it was noticed that whenever he 
 was called upon for a story, he remarked that he 
 'knew a jolly lot,' but that 'Barnard can tell them 
 better than L' F. E. Barnard, therefore, told all 
 of Pelham's stories — the same droll Barnard 
 whose fame rests on his illustrations of Dickens's 
 and Thackeray's characters." 
 
 In the fall of 1888 the club shifted its quarters 
 into the adjoining building, 121 Fifth Avenue, 
 adopting the Wallace Restaurant, which was on 
 the ground floor, as the restaurant of the club. 
 The regular dinner, which was a dollar to other 
 patrons, was seventy-five cents to members of 
 the club, who were seldom seen at the Wallace 
 tables. 
 
 One advantage of these frequent moves was 
 
c: 55 3 
 
 the numerous opportunities for house-warmings 
 which were attended with high-jinks of the Latin 
 Quarter order and of the sort that poor students 
 with abundant skill in decoration knew how to 
 make attractive. However humble the rooms a 
 few soft-toned draperies from the studios, an an- 
 tique lamp, a rug for a note of color made any in- 
 terior charming. If a brass cuspidor fitted into 
 the tone of a piece of old tapestry better than a 
 Benares plaque, up went the cuspidor. After the 
 house-warmings came receptions and smokers ex- 
 tending far into the small hours, when the vaude- 
 ville programme began with members and con- 
 tinued with the stunts of actors who dropped in 
 after the theater. 
 
 It was at 121 Fifth Avenue that a reception and 
 supper were given to Ned Abbey on one of his 
 returns from London, when he was supported by 
 F. Hopkinson Smith and Stanley Reinhart. He 
 was supported only in the sense of encouragement 
 to make his after-dinner speech, an ordeal through 
 which he could smile gracefully, but one of which 
 he had a peculiar dread. 
 
 The Abbey reception was on the evening of the 
 17th of January, 1890, and the following is from 
 the New York "World" in its morning issue: 
 
C 56 3 
 
 "There was a large and merry gathering of art- 
 ists and patrons and lovers of art at the rooms of 
 the Salmagundi Club, No. 121 Fifth Avenue, last 
 evening, assembled by invitation of the club to 
 meet and greet the artist Edwin A. Abbey, who 
 recently returned from abroad after a long stay. 
 
 "The walls of the club parlor were hung with 
 sketches in black and white, mostly of a humor- 
 ous nature, especially executed in honor of the oc- 
 casion. Those which excited the most merriment 
 were a travesty on the 'Angelus' by W. H. Shel- 
 ton, and a clever imitation of Turner, done in oil 
 on a round panel by Thomas Moran. The Ange- 
 lus travesty depicted the peasants both smoking, 
 real patches sewn on the man's garments, real 
 potato skins in the basket, and a real safety pin 
 fastening the woman's skirt. The inscription on the 
 Turner read, 'Bought by an American million- 
 aire from a needy English Duke for $291,000.75, 
 painted by Jim Jam M. W. Turner.'" 
 
 The "New York Herald" said: "Among the 
 entertainment features were capital recitations 
 by E. W. Kemble and Mr. Varnum, and piano 
 solos by Messrs. Edgar S. Kelly and Wallace 
 Sawyer. A hand organ with its natural guardian 
 was a feature, and Alexander Schilling, in the ab- 
 
C 57 ] 
 
 sence of Mayor Grant, ground music out of it dur- 
 ing a tour of the room, while E. W. Kemble acted 
 as monkey and J. W. Champney as his guardian." 
 
 Mr. Abbey had been made an honorary mem- 
 ber of the club in 1884. No special reason for this 
 action appears in the record, but it was appar- 
 ently a cordial appreciation of his genius, which 
 had been universally conceded among the artists 
 almost from his first appearance at "Harper's." 
 Only the year before this reception the club in its 
 Annual Black and White Exhibition had exhibited 
 his original drawings, seventy-one in number, for 
 Goldsmith's comedy, "She Stoops to Conquer." 
 The collection occupied an entire gallery. Every 
 member of the club felt a personal pride in his 
 success, and some of us knew his methods through 
 watching him at his easel, which never in the least 
 disconcerted him. 
 
 I think it was after my return from spending 
 the summer of 1879 with the Reinharts at Green- 
 wich, Connecticut, that I was invited to take 
 Abbey's place in the studio, which he was leaving 
 for more spacious and handsomer quarters in the 
 old University Building in Washington Square. 
 
 The big, three-part studio he was leaving, on 
 the upper floor of the old National Academy 
 
c 58 n 
 
 Building in Thirteenth Street, when occupied by 
 Abbey, Reinhart, and Bleecker Mitchill, was dU 
 vided along the front into three window-stalls 
 after the style of the draughtsmen's room at 
 "Harper's." Reinhart occupied the west or left- 
 hand stall, as one entered the door, and Abbey 
 occupied the east stall, with Bleecker Mitchill in 
 the stall between. Mitchill was a man of indepen- 
 dent means, who painted very well and who was 
 devoted to Reinhart. He loved above all things 
 to tinker the locks or do little jobs of carpen- 
 tering. Abbey left a carved oak table behind, 
 which I bought from him. This table had had 
 sections of its four legs sawed off on some occa- 
 sion of moving, but the table remained movable 
 and usable probably through some deft joiner 
 work of Bleecker Mitchill. 
 
 Abbey often dropped in to see us, for he was a 
 social soul if ever there was one, and he found it 
 lonely in his big studio, with the great cathedral 
 window looking into space. He felt lost in its 
 vastness, and homesick for the company he had 
 left. 
 
 I remember how he happened in one evening 
 when I was going to a wooden wedding. My pres- 
 ent was to be an animated tree with one little 
 
1 59 n 
 
 fruit hanging from a limb, representing the only 
 daughter of the house, and as the time grew short 
 I had got nervous over the little lady's face. With 
 Abbey's help it was soon made satisfactory and 
 we put it into its frame. 
 
 At the back of this studio of three stalls there 
 was a great space for easel work and for posing 
 models. It was no unusual thing, of a morning, 
 for Ned Abbey to burst in, smiling through his 
 white teeth, with his working kit under his 
 arm and his model behind him, in search of a so- 
 cial atmosphere. He would borrow an easel (he 
 would borrow anything or lend anything) and if 
 the morning was cold he would select a place 
 close to the tall coal stove, where he could get the 
 light from Reinhart's window. The open space 
 was more or less crowded with spinning-wheels, 
 hair trunks studded with brass nails, and band- 
 boxes covered with ancient wall-paper. Studio 
 properties were never much in Abbey's way, for 
 he was so near-sighted that he posed his model, 
 as one might say, at the end of his mahlstick. If 
 he needed extra space for anything it was for the 
 breakdown in which he frequently indulged while 
 his model rested, and it was not required that the 
 drawing should be perfectly satisfactory to impel 
 
I 60 ] 
 
 the dance. The gray French paper he worked on 
 was usually swollen into hills and valleys from 
 the freedom of his washes, and in the long waits, 
 while the paper straightened into form, he di- 
 vided his time between chaffing his model and 
 chaffing his friend Reinhart, who was drawing on 
 boxwood in his stall. 
 
 On the 1st of May, 1890, the club moved to the 
 parlor floor of the dwelling-house at 49 West 
 Twenty-second Street, where it remained for two 
 years. The rent was twelve hundred dollars and 
 the rooms were three in number, a large rear par- 
 lor used as a meeting-room, a middle room which 
 was the entrance room from the hall and used as 
 a card-room, and a small front room which was 
 used as a reading-room and library. F. K. M. 
 Rehn was the chairman of the house committee 
 and made the first purchase of furniture for the 
 club, some of which, the oak chairs and settees, 
 are still in use in 1918. A social meeting was called 
 for May 9, to get together as many as possible of 
 the members to see the new quarters, but the 
 grand house-warming was deferred until fall. 
 That event took place on the evening of Friday, 
 November 21, and the guests were bidden on a 
 
C 61 ] 
 
 pictured card drawn by Frank Green, showing a 
 punch-bowl and pipes and a boy in short clothes 
 bowing them welcome to "A house warming to 
 ye profession only, at club house, &c." The next 
 morning nearly all the papers described the fes- 
 tivities. 
 
 The following is from the "Herald": 
 
 "The new and most attractive rooms at 49 West 
 22d Street of the flourishing organization of art- 
 ists, the Salmagundi Club, were crowded last 
 evening at a ' Goode olde house warming to the 
 profession only.' It was chiefly a social affair in 
 which pipes and beer played principal parts, but 
 there were also some loaned art works in addition 
 to those usually in the club and a much-enjoyed 
 musical and literary entertainment. 
 
 "Among those who sang were Messrs. Harry 
 Pepper and Victor Daugon. Messrs. Charles 
 Battell Loomis, Rutherford Ashleigh, and John 
 E. Ince recited. Mr. Mannes played on the violin 
 and his string quartet were also heard, as was 
 the Mandolin Club." 
 
 The "World" added the statement: "It was 
 early in the morning hours before the house was 
 voted to be sufficiently warmed." 
 
 To give a dinner at that time was altogether 
 
C 62 ] 
 
 out of the common, for it had to be served by a 
 caterer from outside and the problem was diffi- 
 cult. A year later on Friday, November 20, 1891, 
 a dinner was announced to be served in the club 
 quarters, in the following words: 
 
 "Dear Sir : On Friday evening, November 20th, 
 it is proposed to have a dinner at the club-rooms 
 for members only ["and friends" was written in]. 
 Should you wish to be present a place at table 
 will be assigned to you on payment of One Dollar 
 to the steward Mr. Hugo Brown, at the club- 
 rooms or to any member of the committee, not la- 
 ter than Saturday evening, November 14th. Din- 
 ner will be served at seven o'clock. 
 
 " Hoping to have the pleasure of your company, 
 
 "Yours truly 
 
 " H. P. Smith, Chairman 
 " W. H. Shelton, 
 "A. C. Morgan, 
 "H. W. Ranger, 
 "W. H. Drake, 
 "C. E. Proctor, 
 
 This is the first mention to be found of Hugo 
 Braun or Brown, who was the first steward of the 
 club. He probably began his service during the 
 second summer at No. 49. In an old book of bar 
 
 Committee." 
 
C 63 3 
 
 accounts for 1891, his handwriting appears in 
 June of that year. 
 
 In May, 1892, the club leased the second floor 
 of the building at 40 West Twenty-second Street 
 at an annual rental of fifteen hundred dollars. 
 The lease was for two years with privilege of re- 
 newal for two years at same rate. It may be men- 
 tioned here that the rent of the floor at 123 Fifth 
 Avenue had been nine hundred dollars, at 121, 
 over Wallace's restaurant, fifteen hundred dol- 
 lars, and on the north side of Twenty-second 
 Street, twelve hundred dollars. 
 
 At that time the club kept but one employee, 
 and during the entire period, nearly five years in 
 Twenty-second Street, the steward was the be- 
 fore-mentioned Hugo Brown. He enjoyed and 
 deserved the fullest confidence of the members. 
 That he had seen better days was evident, and it 
 was believed that he had left the German army 
 and his home country through having declined to 
 fight or in some way avoided a duel. Whatever 
 the trouble may have been, he brooded over it 
 until, together with his zealous and faithful serv- 
 ices as steward, which left him alone during the 
 long days, it affected his mind. He resigned his 
 position as the club was moving to the Twelfth 
 
C 64 ] 
 
 Street house and in the following October he com- 
 mitted suicide. 
 
 The floor at No. 40 was divided by screens or 
 light boarding into three rooms. In front was the 
 reading-room with shelves for the growing li- 
 brary, and at the back the exhibition and meet- 
 ing-room, and between them the billiard-room 
 and the buffet that served as a bar, and along its 
 side a narrow recess for coats. 
 
 And now we come to the grand pipe-dream of 
 the Salmagundi Club which was dreamed in the 
 club quarters at No. 40 West Twenty-second 
 Street, in the year 1893, which was the year of 
 the great World's Fair at Chicago. The dream 
 was no less than a plan for the club to go to 
 Chicago by Concord coaches to Albany, by 
 packet-boat through the canal to Buffalo, thence 
 our boat to be towed through the Lakes, and tied 
 up in the lagoon on the Exposition grounds and 
 used by the club as a private hotel and, at the 
 same time, to be an important exhibit in the De- 
 partment of Transportation of the State of New 
 York. The packet-boat was to be the Seneca 
 Chief, the first passenger boat that went through 
 the Erie Canal, and was to have been built by 
 any angel that could be found. 
 
1 65 n 
 
 The pipe-dreamer was the writer of this his- 
 tory, and the idea was laughed at at first and 
 then so far adopted by the club that I was sent to 
 Albany to look over the ground and, presumably, 
 to see somebody. Before going to Albany, I pro- 
 vided myself with such endorsements as I could 
 get. I was encouraged by Mr. Oliphant, the 
 president of the Delaware and Hudson Canal 
 Company, and by Mr. Legrand Cannon, but Mr. 
 Chauncey Depew said he had never heard of the 
 Salmagundi Club. 
 
 That was in the day of small things for the Sal- 
 magundi Club, but if an idea equally attractive 
 and equally timely were conceived in the present 
 condition of the club, the few thousand dollars 
 needed to finance the scheme would be provided 
 very promptly. 
 
 The newspapers were full of the project for a 
 few days. 
 
 The following clipping seems to be from a 
 Chicago paper: 
 
 "Chief Smith of the Transportation Exhibits 
 Department, is in receipt of a letter from the Sal- 
 magundi Club of New York, an organization of 
 artists, who desire to come to the Exposition by 
 means of primitive modes of travel. 
 
c 66 : 
 
 "They propose to go from New York City to 
 Albany by means of the old-fashioned Concord 
 coaches, traveling over the same identical route, 
 horsed and tooled after the manner and on the 
 same scheduled time of the old company. From 
 Albany they will come on one of the old-fash- 
 ioned packets of the Erie Canal. On reaching 
 Buffalo they desire to forward the canal boat to 
 Chicago, provided they can obtain a landing- 
 place near the grounds of the Exposition, making 
 it the headquarters of the club of artists while 
 here. The boat they desire to enter as an exhibit 
 of the Transportation Department. The ques- 
 tion as to whether it can be properly provided 
 for is now under consideration." 
 
 The following is from a New York paper: 
 "Here's a tip for the people who are going to 
 visit Chicago, and incidentally the World's Fair, 
 this summer. Don't go by rail. That's a hack- 
 neyed method of traveling. Go by way of the re- 
 naissance canal packet, if I may be permitted the 
 expression. How can you do it? I'll tell you. 
 That artistic institution of artistic institutions, 
 the Salmagundi Club, has a great big scheme on 
 hand by virtue of which you may travel by water 
 
C 67 ] 
 
 from New York to Chicago. Of course everybody 
 has heard of the famous packet-boat, Seneca 
 Chief, which was the first canal passenger boat 
 to make the through trip on the Erie Canal in 
 1825. Well, the Salmagundi Club, at the sugges- 
 tion of W. H. Shelton, the ex-warrior, artist, 
 Century contributor, whist-player, and all-round 
 good fellow, has set out to build a fin-de-siecle 
 counterpart of the Seneca Chief, and run it from 
 New York to Chicago during the progress of the 
 World's Fair. The scheme will cost money, but 
 the Salmagundi hopes to enlist the New York 
 State World's Fair Commission in the enterprise 
 and so secure the $4000 or $5000 necessary. It 
 certainly should succeed, for the triumphant trip 
 of the Seneca Chief marks an important epoch 
 in American history. The passage of the packet 
 boat was signaled by the discharge of twenty-five 
 cannon, planted at intervals along the banks of 
 the canal, and in one hour and twenty minutes 
 after the packet left Buffalo, the announcement 
 of the start had been volleyed away down to 
 Sandy Hook. Surely the Salmagundi's project of 
 restoring, as it were, the Seneca Chief is worthy 
 of cooperation." 
 
C 68 ] 
 
 On the 12th of December, 1893, a reception 
 was given at 40 West Twenty-second Street to 
 Andres Zorn, the handsome and distinguished 
 Swedish painter, and Josef Slavinski, the Polish 
 pianist, just introduced to the American public 
 by A. M. Palmer. Up to that time this was con- 
 sidered one of the most important artistic affairs 
 given by the club. The enthusiasm ran so high 
 that the distinguished guests were made honor- 
 ary members of the club. Mr. Slavinski did not 
 play, as that favor was reserved for paying audi- 
 ences, but Miss Annie Wilkes, a skirt-dancer and 
 high-kicker, made the evening sufficiently hila- 
 rious. A particularly full description of the eve- 
 ning's entertainment was published in the New 
 Orleans "Picayune." 
 
 It was while the club was at 40 West Twenty- 
 second Street, that Mr. Ranger, representing a * 
 discontented element in the Lotus Club, pro- 
 posed to bring to the Salmagundi a considerable 
 number of Lotus Club men, but the movement 
 was contingent upon a division of offices between 
 the old club members and the newcomers, and 
 was coldly received. 
 
 The Lotus Club at that time was in its old 
 quarters on the northeast corner of Twenty-sec- 
 
C 69 ] 
 
 ond Street and Fifth Avenue, and its weekly 
 entertainments were hilarious bohemian affairs. 
 The Salmagundians were among the guests and 
 were sometimes conspicuous among the enter- 
 tainers, for it was an open field where new talent 
 was welcomed. The entertainment was above- 
 stairs before twelve o'clock, but when the actors 
 began to come in from the theaters, it was ad- 
 journed to the basement, where it continued un- 
 til the small hours of the morning. 
 
 Ranger was for a long time the master of cere- 
 monies and introduced the performers in a cord- 
 uroy coat and usually spoke with a cigar hanging 
 from his lips. We crowded about the stage and 
 sat upon the stairs, tier above tier, and always, 
 conspicuous in the background, was a well-known 
 sculptor in a maudlin condition, quite too far 
 gone to take any interest in the show. 
 
 There was one memorable night, when Charlie 
 Graham and Kemble and Durkin gave their In- 
 dian performance in the old Lotus parlor. It was 
 probably after their appearance in the same role 
 at 121 Fifth Avenue, and the Salmagundians, 
 knowing what was coming, sat in a state of tense 
 expectation until the bells on Charlie Graham's 
 legs indicated that the half -naked savages had hit 
 
c 70 n 
 
 the stairway and in another moment, with war- 
 whoops and drums and rattles, they burst into 
 view and began the Indian dance. 
 
 One of the last festivities of the Salmagundi- 
 ans, before leaving Twenty-second Street, was a 
 dinner at an Italian restaurant, on which occa- 
 sion Mr. Lawrence, the president of the Lotus 
 Club, was present. 
 
 The following account of the dinner is from 
 the New York "Sun" of April 21, 1895, and is 
 entitled, "An Artistic Revelry with a Nickel-in- 
 the-Slot Innovation": 
 
 "The Salmagundi Club, which holds continu- 
 ous symposiums in its rooms in Twenty-second 
 Street, having been informed by its Entertain- 
 ment Committee that what it most wanted was a 
 dinner, sat down in Sangheri's, in East Twenty- 
 second Street, on Friday night, to a sort of ban- 
 quet. The meeting broke up yesterday morning. 
 True to their bohemian habit, the club members 
 turned out in large numbers, the dining-room 
 was crowded, and a novelty was introduced in 
 the nature of a nickel-in-the-slot waiter, who 
 went about in white apron and weighed each 
 member, collecting individually and accordingly 
 from each man on the premises and while he 
 
C 7i n 
 
 waited. This procedure made bookkeeping un- 
 necessary. 
 
 "Thomas Moran, president of the club, pre- 
 sided, and speeches were made by W. Lewis 
 Fraser, F. S. Church, J. H. Dolph, Charles Baker, 
 T. S. Steele of Hartford, Fred Bartlet, A. T. Van 
 Laer, C. C. Ruthrauff, William T. Evans, and 
 W. H. Drake. Felix Morris, the accomplished 
 actor, made several recitations, and Mr. Senecal 
 played upon the piano, very greatly to the delight 
 of the company. 
 
 "The affairs of the club were discussed by sev- 
 eral gentlemen of various opinions as to the best 
 methods of continuing the exhibitions and its 
 influence as the one artist's club in New York. 
 
 "Among those present were Mr. Charles Wal- 
 ker, of the Boston Art Club; Mr. J. Francis Mur- 
 phy; Mr. J. A. Thompson; Mr. Lawrence, of the 
 Lotus Club; Mr. J. Scott Hartley; Mr. George H. 
 McCord; Mr. E. J. Dressier; Mr. Charles Proc- 
 tor; Mr. De Scott Evans; Captain Stivers; Mr. 
 O. H. von Gottschalck; Mr. George F. Kerr; Mr. 
 William C. Fitler; Mr. E. L. Durand; and Mr. 
 Bernheim." 
 
 As will be seen from the foregoing newspaper 
 notice, the New York dailies were very attentive 
 
c 72 n 
 
 to the movements of the Salmagundi Club, partly 
 because of its activity in art matters, and partly 
 because the press seemed to regard the club as a 
 sort of bohemian morsel that it loved to turn 
 over in its journalistic maw and upon which it 
 never tired of regaling itself. 
 
 The Salmagundi Club was only an obscure 
 wanderer in the great club world of New York, 
 and up to the time of leaving Twenty-second 
 Street, it had been but a one-floor club. The com- 
 forts and privileges that it' afforded to its mem- 
 bers were limited. Its members could drink and 
 smoke at home, but when it dined it adjourned to 
 a French or an Italian table-d'hote restaurant, 
 where the red wine or the chianti was of good re- 
 pute and where a room could be reserved for a 
 certain amount of hilarious privacy. It is true 
 that there were some dinners served at home, by 
 a caterer from without, who brought his waiters 
 and a plate-warmer, which were remembered for 
 their coldness. 
 
 At 121 and 123 Fifth Avenue the rooms of the 
 club were little used except on Friday which was 
 the club night. At 49 West Twenty-second Street 
 the rooms were simply furnished, but furnished 
 for the first time, and a billiard-table was added 
 
C 73 ] 
 
 to the attractions of the club, and finally a stew- 
 ard appeared to look after the place and keep 
 the accounts. 
 
 At No. 40 there was an increase of members 
 and an increase of comforts, but it was still a 
 one-floor and a one-servant club. 
 
CHAPTER V 
 
 FOURTEEN WEST TWELFTH STREET 
 
 There is a house not far from ways of trade 
 
 Where artist fellows oft do congregate, 
 
 And some few scribblers by their muse betrayed, 
 
 And sons of guns with music in their pate, 
 
 With others more substantial and sedate, 
 
 Who buy the stuff the artist fellows paint 
 
 (The fair pot-boiler sketch which bears no date), 
 
 Who make no grim grimace, no sad complaint, 
 
 Although the plug is tough and twice the market rate. 
 
 CRAVEN LANGSTROTH BETTS 
 
 The neighborhood of Washington Square and the 
 quiet streets above it lined with their substan- 
 tial houses of hospitable vestibules and gleaming 
 brasses, seemed to exercise an unconscious at- 
 traction for the Salmagundi Club. During a num- 
 ber of years it had quarters in the old Univer- 
 sity Building and in the Benedict, looking out on 
 the square itself, and in all its migrations it was 
 circling about the region of its destiny like a rest- 
 less bird, lighting here and there before nesting. 
 
 At the time of the removal from Twenty-sec- 
 ond Street to 14 West Twelfth Street, Thomas 
 Moran was president of the club, Joseph Hartley 
 was treasurer, and Robert Minor was recording 
 
House Front, 14 West 12th Street 
 
 FROM A CHARCOAL DRAWING BY CHARLES S. CHAPMAN 
 
C 75 ^ 
 
 secretary. The house was the city home of John 
 Rogers, famous for the groups of historical figures 
 known as "Rogers Groups," or "Rogers Statu- 
 ettes." These particular sculptures, the figures 
 about half life-size in plaster, usually painted a 
 drab color, had enjoyed great popularity before 
 and during the Civil War and in the years imme- 
 diately following. The "groups " had great vogue 
 as wedding presents and stand to-day in many a 
 darkened parlor throughout the land, as monu- 
 ments to the founding of families. 
 
 At the March meeting, 1895, a committee had 
 been appointed to secure new quarters for the 
 club. A committee of three had already been 
 looking about without success, and that commit- 
 tee was now increased to five members. In the 
 order named in the minutes, they were Cheever 
 Goodwin, Herbert Levy, R. M. Shurtleff, Lewis 
 Fraser, and Joseph A. Thompson. At the April 
 meeting this committee reported progress and 
 recommended " a part of a house in Tenth Street 
 lately occupied by Mr. Lanthier." 
 
 On the 1st of May the Salmagundi Club took 
 possession of the house at 14 West Twelfth Street, 
 which for more than twenty years continued to 
 be its home. The studio at the back of the lot and 
 
C 76 ] 
 
 parts of the house were crowded with designs in 
 plaster for the familiar statuettes; the first con- 
 ceptions of such groups as Lincoln striking the 
 fetters from the slave, or Henry Ward Beecher 
 and the slave girl, rudely suggested in tiny figures 
 of clay, cracked and covered with the dust of 
 years, stood about on shelves and barrel heads or 
 lay shattered on the floor. It was pathetic to see 
 the aged sculptor standing among the debris of 
 his life-work, his hands that had wrought so 
 much shaking with palsy. There were more am- 
 bitious works, intended to follow the "groups," 
 notably two equestrian statues, half life-size, of 
 Sherman and Sheridan, which for years rested 
 above two of the cases in the library. 
 
 On May 3, at the monthly meeting it is re- 
 corded : 
 
 "The House Committee gave an account of 
 the rental of New Quarters in 12th Street. 
 
 "Mr. Baker moved a vote of thanks to Messrs. 
 Shurtleff, the Site & Ex. Committees, and Mr. 
 Craig for services rendered in securing new quar- 
 ters." 
 
 Mr. Shurtleff was evidently the chairman of 
 the committee and Mr. Thomas Craig may have 
 called the attention of the committee to the house. 
 
t 77 3 
 
 Mr. Rogers wished to retire to his country 
 house at New Canaan, Connecticut, and the 
 house, 14 West Twelfth Street, was secured by 
 the club at an annual rental of two thousand 
 dollars. 
 
 During the time of its prosperity the house 
 had been remodeled for the exhibition and sale 
 of the famous groups. The house then extended 
 as far back as the present wall of the upper stor- 
 ies and included the tier of rooms below, now 
 defined by the girder that crosses midway of the 
 grill-room. The studio stood sixteen feet back of 
 the house. It was a brick structure covering the 
 exact area of what was later the billiard-room, 
 lighted by a glass roof and entered by a door at 
 the middle of its front. The wide section of the 
 grill-room had been the family kitchen, and un- 
 der that was the laundry with stationary tubs 
 and opening on the yard by stone steps under the 
 usual sloping cellar door. 
 
 Outside the back hall door was what remained 
 of a rope and pulley elevator which at some time 
 had landed its invalid passenger at the door of 
 the card-room, a door which had been opened 
 for that purpose. The big office window was a 
 show window for the statuettes. The stairway 
 
had been removed from the hall in the interest of 
 the business and a line of screens divided it into 
 two halls, one for family use, and the other, along 
 the west wall, led to the studio. It had its own 
 vestibule door, by which a horse, when a horse 
 was needed for a model, could be led in along the 
 marble floor. The parlor had a line of low book- 
 cases against the west wall, the bar had been the 
 butler's pantry, and the "red room" the family 
 dining-room, with two windows looking south 
 over the Rogers Studio. The library was divided 
 by a low partition into two bedrooms, and this 
 was the house as we found it. 
 
 An entry in the minutes of the executive com- 
 mittee reads: "Mr. Hartley was empowered to 
 engage Mr. Andrew Christopher and his wife 
 as janitors." The club needed several servants, 
 but as it could afford only one it was as well 
 to begin with a janitor and his unpaid assistant. 
 The other member of the Christopher family was 
 a fox terrier of objectionable habits. 
 
 Andrew was a surly Swedish sailor, who opened 
 the door in his shirt-sleeves and frightened timid 
 members away. Ashore he was a carpenter, 
 which accounts for his engagement, and it was 
 Andrew who removed the low bookcases from the 
 
OFFICE, 14 WEST 12TH STREET 
 From a charcoal drawing by Charles S. Chapman 
 
C 79 ^ 
 
 parlor and the diamond-glazed cupboards from 
 the pantry to the library. It was also Andrew 
 who built the covered passage to the studio. This 
 passage was built along Mr. Crane's fence and 
 along the wall of the studio to the studio door. It 
 was built of unplaned boards; the cracks and 
 knot-holes in the boards and the cracks in Mr. 
 Crane's fence were battened with strips of lath 
 over ragged bits of oilcloth and the roof was cov- 
 ered with tarred paper. It was a rude passage 
 down an inclined plane and very cold in the 
 winter. 
 
 The sailor and his famify lived* in the kitchen 
 or as Andrew called it the galley, and occupied 
 the two back bedrooms on the fourth floor, one 
 for a bunk and the other for a cabin. In the sum- 
 mer instead of going aloft they preferred to sleep 
 on the bathtubs in the hold of the ship. There 
 was a hatchway leading up to the bar and when 
 Andrew's ship-mates were in port grog was free. 
 And this was the Salmagundi Club and not the 
 Yacht Club. 
 
 Mr. Joseph A. Thompson, the corresponding 
 secretary, rented from the club the room that 
 was later the card-room, and after a time one 
 servant was added to the meager staff, in the 
 
C so 3 
 
 person of "Old Baker," a fine type of the obse- 
 quious Virginia house-servant, who knew a gen- 
 tleman when he saw one, and who must have had 
 his opinion of Andrew. Baker's position was that 
 of hall-boy and dog-chaser. 
 
 During Andrew's time breakfast was served in 
 the room which was later the office. It was fur- 
 nished with an extension table and wooden chairs. 
 A faded linen shade hung awry in the front win- 
 dow which a reporter for the "Sun" had taken 
 the liberty to publish to the world as a "shirt- 
 tail." The floor of this room was usually orna- 
 mented, along the baseboard, with crusts of 
 bread and scraps of paper, gray with dust. This 
 was the first meal service in the history of the 
 club, and it had a humble beginning, the more so 
 as it was served by Andrew for Andrew. The base- 
 ment of the house at this time was unused except 
 for the storage of coal, and the ice and all other 
 supplies were delivered through the front hall. 
 
 Notwithstanding the limited service and the 
 other humble beginnings some of the artist mem- 
 bers were very enthusiastic and very active in the 
 decoration of the house. To this end a bond issue 
 was authorized on the seventh day in the new 
 house in the following words: 
 
6 ^ 
 
 I-H O 
 
 b •a 
 
C 81 ] 
 
 " Salmagundi Club 
 " 14 West 12th St. 
 
 "Dear Sir: 
 
 "Now that we have moved to our new 
 house we find it necessary to raise some money 
 for the general purposes of the Club and the Ex- 
 ecutive Committee have authorized the issue of 
 Bonds to the amount of Two Thousand Dollars, 
 payable in five years, with interest at the rate of 
 four per cent per annum. One fifth of the Two 
 Thousand to be redeemed each year. They will 
 be issued in sums of Ten Dollars and multiples of 
 that amount as may be desired. 
 
 "You are asked to subscribe to this loan, and 
 our Treasurer, Mr. Joseph Hartley, 265 Canal 
 Street, will send you Bonds on receipt of money. 
 
 "Joseph A. Thompson, Secy. 
 
 "New York, May 7th, 1895." 
 
 Charles A. Proctor, Frank Green, Bruce Crane, 
 and Will Drake treated the great parlor and the 
 Rogers Studio with colored burlaps, making the 
 latter room available for the exhibition of pic- 
 tures and for the official meetings of the club. 
 
 With the first warm weather of 1896, his sec- 
 ond summer with the club, our sailor-steward be- 
 
C 82 3 
 
 gan to pine for the sea, and he was given a leave 
 of absence of six weeks to visit Sweden. Andrew 
 continued to be the steward until 1897, remaining 
 long enough to divide with Baker the first Christ- 
 mas fund for the servants in the history of the 
 club, one hundred dollars, which was really a 
 New Year's gift for 1897. Andrew left some 
 time during the summer of that year. The date 
 of his departure was selected by the dog. That 
 important member of the family, which was held 
 to fill the place of a child that was dead, had been 
 condemned by the chairman of the house com- 
 mittee to a life belowstairs. That order was so 
 far disregarded that the dog was disguised in » 
 swaddling clothes and carried upstairs to bed at 
 night. This so offended the chairman of the house 
 committee that the offending dog was ordered 
 removed from the house altogether. 
 
 Soon thereafter there came a morning when, 
 for good and sufficient reason, the librarian has- 
 tened to the Grand Union Hotel, and the Grand 
 Union Hotel — " The Grand Union Hotel " 
 stands for Sam Shaw — asked Andrew Christ- 
 opher, over the telephone, when he proposed 
 to remove his dog from the house occupied by 
 the Salmagundi Club, at 14 West Twelfth Street 
 
GLIMPSE OF GRILL-ROOM FROM BILLIARD-ROOM 
 F rom a charcoal drawing by Charles S. Chapman 
 
C 83 ] 
 
 in the City of New York, to which Andrew re- 
 plied, "Never." Whether Andrew had been splic- 
 ing the main brace or whether he was in one of 
 his surly moods, his curt reply stung the chair- 
 man of the house committee to action, and with 
 the librarian he hurried to the treasurer in Canal 
 Street to learn the exact terms under which An- 
 drew had shipped. An hour later Andrew's wife, 
 followed by the dog in disgrace, opened the door 
 in tears, and from that day the club was without 
 a steward. Andrew disappeared over the rail 
 with his dunnage, leaving Baker in command of 
 the ship. 
 
 We must have been without a steward for some 
 time after the painter members returned from 
 their summer work, for it was in December, 1897, 
 when the second steward, Emil Mehl, and his 
 wife came to the club, and it was during his stew- 
 ardship that the real renaissance of the club be- 
 gan. Emil's father was a retired chef, who had 
 once ruled the kitchen of the Brevoort House. 
 Twice a month he came up from his retreat on 
 Long Island and cooked a dinner for the Salma- 
 gundi Club. The dinner was cooked in the laun- 
 dry, brought across the yard by the waiters, and 
 served in the Rogers Studio. The first of these 
 
I 84 3 
 
 dinners took place on January 25, 1898. It had 
 been announced by a circular on January 18 that 
 a design had been accepted for a tiled fireplace 
 in the "smoking-room" and that a dinner would 
 take place on January 25 at which tiles would be 
 painted. The design for the fireplace was by Ar- 
 thur Blackmore and William C. Ostrander. At 
 this time the club had its own potter, the late 
 Charles Volkmar, who had taught us etchings in 
 the old days, and the tiles were burned under a 
 heavy glaze. They were of a uniform size, four 
 inches square, and the variety of design was se- 
 cured by massing tiles for the central and flank- 
 ing pictures. The single tiles for borders and for 
 filling in around the designs were many of them 
 painted at this opening dinner. The large central 
 picture below the mantelpiece was a Dutch land- 
 scape by A. T. Van Laer, and the upright panels 
 at the sides of the fireplace were single figures by 
 Paul Dessar and I. H. Josephi, each three tiles 
 wide by eight tiles high, and the central design, 
 by Van Laer, was irregular in form on forty tiles. 
 Flanking this center design was a group of Dutch 
 fishing boats by Will H. Drake on sixteen tiles 
 and a Dutch landscape by J. J. Redmond. There 
 were small portraits of Inness* and Wyant. The 
 
C 85 ] 
 
 mottoes and the lettering were by Thomson Will- 
 ing, who afterwards completed the decoration of 
 the room, which was always known as the "Red 
 Room," from its original Japanese wall-paper 
 and from the same color prevailing elsewhere. 
 
 At these dinners decorated souvenirs of the oc- 
 casion, autographed by all the diners, were sold 
 at auction, the proceeds to be applied to the fit- 
 ting-up of the club. Some of these souvenirs 
 were very elaborate in design and finish, and for 
 one of these Mr. Clarkson Cowl paid one hun- 
 dred and seventy-five dollars. At about this time, 
 also, Mr. Cowl donated seventy-five dollars for 
 the oak grill in the office window and for curtains 
 to take the place of the disreputable shades. 
 
 It was at these dinners that Bruce Crane began 
 his career as the club's auctioneer, and the enthu- 
 siasm was so great that articles were sold at un- 
 reasonable prices and then returned to be sold 
 again. On one occasion a ten-dollar gold-piece 
 was sold for twenty dollars and then sent back to 
 the auctioneer for another trial of his skill. At 
 this time the initiation fee was suspended and the 
 membership increased rapidly. At one period of 
 the dinners in the old studio it was customary for 
 the artists to bring sketches which were displayed 
 
C 86 3 
 
 on the walls and were afterwards divided by lot 
 among the contributors. An artist-contributor 
 who brought a guest often allowed his guest to 
 draw in his stead. It soon became a custom to 
 vote on the merits of the sketches, or, as they 
 often were, finished pictures, the one receiving 
 the highest number of votes becoming the prop- 
 erty of the club. Some of these pictures are still 
 on the walls, as a landscape by Fitler and a 
 horse and cart, by Frank Green. 
 
 Mr. Samuel T. Shaw, who was then the chair- 
 man of the house committee, established a cock- 
 tail closet in the corner of the room, the revenue 
 from which, more substantial than the revenue 
 of Cockchafers, Locusts, and Periwinkles of the 
 original Lairdship of Salmagundin, was devoted 
 to framing the successful pictures, by which ac- 
 tion the chairman of the house committee outdid 
 Panurge, the eccentric hero of Rabelais. 
 
 On January 24, 1898, the decoration of the 
 front hall was authorized by the executive com- 
 mittee. This plan of decoration contemplated a 
 dado of paintings, twenty inches in depth, set in 
 a framework of ebonized wood and extending 
 around the walls of this rectangular room. These 
 paintings, on the eve of their removal to the new 
 
C 87 ] 
 
 house, after nearly twenty years in their present 
 setting, deserve at least an enumeration. They 
 were painted on mahogany panels and varied in 
 width, the smaller uprights being sixteen inches 
 wide and the 'larger ones thirty inches. They 
 were in the best manner of the artists repre- 
 sented. The large panels were by J. Francis Mur- 
 phy, F. K. M. Rehn, Robert Minor, R. M. Shurt- 
 leff, Bolton Jones, Frank Green, Frederick Nae- 
 gele, George H. McCord, Thomas Craig, Henry 
 Mosler, and James Tyler. 
 
 The smaller panels are signed by W. C. Fitler, 
 William Verplanck Birney, A. T. Van Laer, Frank 
 Jones, Paul Moran, De Scott Evans, Carl J. Blen- 
 ner, Herbert Morgan, W. H. Shelton, Charles E. 
 Proctor, J. N. Marble, Henry P. Smith, L. C. 
 Earle, William H. Howe, and De Cost Smith. 
 
 Following the decoration of the hall the enthu- 
 siasm for painting panels sought expression on all 
 available walls. The front of the bar, under the 
 central dome of the stairway, was laid out in 
 thirteen panels, which were enriched with paint- 
 ings by members, some of whom are no longer 
 with us. There was a fine landscape by Julian 
 Rix, a cat by Dolph, a marine by Charles Baker, 
 sheep in a stable-yard by Paul Dessar, early sky- 
 
C 88 2 
 
 scrapers by Homer Lee, Dutch boats by A. C. 
 Morgan, a floral piece by William C. Ostrander, 
 water-lilies by Thomson Willing, a landscape by 
 H. C. Nichols, and figures by Edward Pothast, 
 Rudolph Bunner, George Inness, Jr., and H. M. 
 Waltman. 
 
 The east wall of the reception-room, later used 
 as an office, was decorated in panels only a few 
 of which remain. There was a snowy road by 
 Bruce Crane, an Indian head by Irving Couse, 
 and a handsome miniature by I. H. Josephi. 
 
 A number of the most valuable pictures owned 
 by the club came as gift-prizes through the gen- 
 erosity of two members, George Inness, Jr., and 
 Alexander C. Morgan. Mr. Inness's prize was 
 five hundred dollars for the best painting shown 
 in the Annual Oil Exhibition, the work so hon- 
 ored to become the property of the club. The 
 twilight landscape by Frank de Haven, the view 
 in Bruges, by Charles Warren Eaton, the lady 
 drinking tea by Alfred H. Maurer and the great 
 copper by Emile Carlsen, are the gifts under the 
 Inness Prize. The Morgan Prize was one hundred 
 and fifty dollars, for the best water-color in the 
 Annual Water-Color Exhibition, the picture to 
 go to the club on the same terms. The Morgan 
 
[ 89 ] 
 
 prizes are the interior by Arthur J. Keller, the 
 snow scene by Leonard Ochtman, and the marine 
 by Albert Groll. 
 
 While these improvements were going on, the 
 club was still without a restaurant. The old 
 Rogers dining-room was a sort of garage for the 
 baby-carriages of the steward, who had a growing 
 family. The club was dining in its own house but 
 twice a month. This condition was improved 
 upon a little by Mr. Lewis Fraser, who provided 
 for a weekly supper, known at the time by the 
 original, and mildly satirical, name of the "Hun- 
 gry Joe." A box with a narrow opening at the 
 top like a ballot-box was fixed against the bulle- 
 tin in the hall and each member who dropped a 
 contribution into the "Hungry Joe" was entitled 
 to a seat at the supper-table on Friday night. 
 This, of course, was a late supper. Each member 
 contributed according to his means, or his humor; 
 it might be a bank-note or a nickel, but the 
 amount was a secret. When the "Hungry Joe" 
 was opened and the sum of money found therein 
 was divided by the number of names also found, 
 it could be determined whether the supper might 
 be a welsh rabbit or a porterhouse steak. The 
 "Hungry Joe" may have been suggested by a 
 
C 90 ] 
 
 custom that had prevailed briefly, years before, 
 at 123 Fifth Avenue, when the club had no stew- 
 ard. To provide for beer at the weekly meeting, 
 a cigar box with a slot for dimes was set up and 
 abandoned when the suspender buttons out- 
 numbered the dimes. 
 
 The club in its frequent removals from place to 
 place had grown lax in its scrutiny of member- 
 ship lists. Its doors stood too generously open 
 and its easy-going hospitality had been taken ad- 
 vantage of. There were members carried on the 
 roll, and who enjoyed such advantages as the 
 club afforded, who had never paid a cent of initi- 
 ation fee or annual dues, and a larger number who 
 used the club when they chose, but who had long 
 ceased to pay so much as a periwinkle for that 
 privilege. The club was living up to its name as 
 the worthy successor of the "Chatellenie de Sal- 
 migondin," whose revenue was cockchafers, peri- 
 winkles, and locusts. Like Panurge we were liv- 
 ing jolly with no desire to be rich. 
 
 The preliminary work of establishing the club 
 on a sound financial basis began with purging the 
 roll of delinquent members. This was under- 
 taken by the recording secretary in the spring of 
 1898 and continued for more than a year. Many 
 
GRILL-ROOM, 14 WEST 12TH STREET 
 From a charcoal drawing by Charles S. Chapman 
 
C 91 H 
 
 of these members could only be brought to book 
 by the use of registered letters and by that means 
 they were forced out or compelled to make a 
 settlement. 
 
 After the second auction sale in April, 1899, at 
 which the "sketches," as the pictures were then 
 called, brought sixteen hundred and sixty-eight 
 dollars, one half of which went to the club, one 
 hundred dollars was given to the house commit- 
 tee towards fitting up a grill-room. A member of 
 the committee mounted his wheel and found a 
 man in Forty-second Street who agreed to put in 
 a dumb waiter for the hundred dollars aforesaid. 
 The dumb waiter was completed as it stands to- 
 day, in the month of May, 1899, and during 
 the summer was called "Shelton's folly." In the 
 fall, following, the house committee, after much 
 wrangling and discussion, asked the executive 
 committee for an appropriation for a restaurant. 
 This request was at first refused, but on October 
 25 an appropriation of one hundred and fifty dol- 
 lars was made, which was increased on November 
 5 to two hundred and fifty. 
 
 In December the following notice was issued 
 to members and posted in the club : 
 
 "A Grill-Room will be opened at the Salma- 
 
Z 92 ] 
 
 gundi Club for the accommodation of members 
 and their guests on Tuesday, December 11th, 
 1899. 
 
 ' 6 The services of a first-class cook have been 
 secured and a fifty-cent dinner will be served 
 from 6 to 8 o'clock and a twenty-five cent lunch 
 from 12 o'clock m." 
 
 The grill-room, at that time, before the exten- 
 sion of the house, was the old Rogers kitchen, 
 which had been very tastefully decorated by Mr. 
 George M. Taylor, who was then chairman of the 
 house committee. The ornamental brasses on the 
 doors and the copper hood in the fireplace were 
 designed and executed by him. The decoration 
 of the card-room in ebonized wood, with brasses 
 in original designs on the doors and the comfort- 
 able settles cushioned with leather and paneled 
 above for paintings, is also to the credit of Mr. 
 Taylor, as was the establishment of the office 
 with a bookkeeper and with all the equipment 
 of a modern club. 
 
 The grill-room was opened according to pro- 
 gramme, but the first of the fifty-cent dinners 
 was served on the 28th of December. 
 
 The first uniform worn by any servant of the 
 club appeared on the small boy who opened the 
 
C 93 ^ 
 
 door in March, 1899. It was a brown jacket with 
 bell buttons and trousers of the same color. 
 
 In the summer of 1900 the quarters of the club 
 were greatly enlarged by putting a second story 
 on the old studio and connecting the new struc- 
 ture with the house. The studio where the semi- 
 monthly dinners had been served while the 
 enthusiasm for improvements had been at 
 white heat became the billiard-room, connected 
 through an archway with the extension of the 
 grill-room. On the second floor the new gallery 
 extended from the rear of the lot to the central 
 staircase, absorbing the "Red Room," which had 
 been the pride of the club. In this room the cor- 
 ners were rounded with four glazed doors, con- 
 cave in form, which in the general scheme of dec- 
 oration were an important feature. The upper 
 half of these doors was treated with panel paint- 
 ings representing the four seasons; "Spring," two 
 female figures, by J. Allen St. John; "Summer," 
 two nudes floating among the poppies, by F. Luis 
 Mora; "Autumn" in Holland, by George M. 
 Reevs; and "Winter," a Japanese figure the en- 
 tire panel in dark blue, by Genjiro Yeto. 
 
 Much of the furniture had been made expressly 
 for the "Red Room" after designs by Mr. Thorn- 
 
C 94 ] 
 
 son Willing, and the completed scheme of decora- 
 tion, including the aforesaid corner doors, the 
 great tile fireplace, and the encircling shelf set 
 with mugs of the same blue delft as the tiles, was 
 finished and accepted with great satisfaction just 
 as the new building plans called for the sacrifice 
 of the much-admired room in the interest of the 
 new gallery. When the south wall, with its two 
 richly curtained windows looking across the roof 
 of the old studio, was removed, the "Red Room" 
 was a three-sided shell. 
 
 The improvements were made by the landlord, 
 but the work was planned and directed by Mr. 
 Frank Wallace, an architect member, who very 
 generously gave his time and his talent to the 
 construction, and the first autumn meeting of 
 the club was held in the new gallery. 
 
 N 
 
STAIRWAY, 14 WEST 12TH STREET 
 From a charcoal drawing by Charles S. Chapman 
 
CHAPTER VI 
 
 THE LIBRARY 
 It was in the little front room at 49 West Twenty- 
 second Street that the club library had its begin- 
 nings. A number of books seem to have been 
 previously contributed by members, and the 
 writer of this history had been in some way con- 
 stituted librarian, but the books were not listed 
 or numbered. In November, 1891, without any 
 more definite date, the following circular was 
 issued to members: 
 
 " 49 West 22dSt. 
 "November, 1891. 
 
 "Mr. 
 
 "Dear Sir: 
 
 " Near the close of the last Club season a 
 movement was started to found a library for the 
 Club. It is desired that each member shall con- 
 tribute one or more books. Books on art subjects, 
 or valuable for their illustrations, are preferred: 
 but all good literature is acceptable. We have 
 already over 100 volumes contributed by zealous 
 members. We are also collecting and arranging 
 
C 96 ] 
 
 a series of catalogues of the various art organiza- 
 tions and will soon have bound a complete set of 
 the catalogues of this Society. It is desirable that 
 when a catalogue of the library shall be begun, it 
 will be possible to credit to each donor his offer- 
 ings. To that end pasters are prepared, which 
 will be filled in with the name of donor, date of 
 gift, etc., by the librarian. Hoping to enlist your 
 interest and pride in the work, this circular is ad- 
 dressed to each member of the Club. Contribu- 
 tions may be sent to the librarian. 
 
 "By the House Committee 
 
 "W. H. Shelton, Librarian" 
 
 The first book given to the club for a future 
 library was entitled "Salmagundi, A Miscellane- 
 ous Collection of Original Poetry," and was the 
 gift of William F. Round, on March 31, 1880. 
 This was during the second period of the meet- 
 ings at 896 Broadway and just ten years before 
 the circular was issued for the start of a library. 
 Mr. Round was not a member, but had been a 
 guest of the club and contributed the book on 
 account of the name. 
 
 The hundred books mentioned as already in 
 the library are interesting as the nucleus of a li- 
 
[ 97 : 
 
 brary already famous. They were probably con- 
 tributed at my request, and it is likely that I 
 began by putting in a few books I had brought 
 from home when I came to New York. These 
 were, as I remember, three volumes of Prescott's 
 "Ferdinand and Isabella," a "Life of Fremont," 
 several stray volumes of the "Idler" and the 
 "Tatler," and a bound copy of the "New York 
 Mirror" for 1836, on the fly-leaf of which may be 
 seen a penciled head of my father, made when I 
 was a schoolboy. J. S. Hartley gave the "En- 
 cyclopaedia Americana" in fourteen volumes. 
 Alexander C. Morgan contributed four volumes 
 of Macaulay's "History of England." Verplanck 
 Birney gave a set of twelve volumes of the 
 "Works of Schiller" in German, distinguished 
 with the book-plate of Hamilton Fish. When the 
 "paster," which was the first book-plate of the 
 club, was put into use, the first volume of Schiller 
 was No. 1 in the Salmagundi Library, but, later, 
 the right of first place was conceded to the gift of 
 Mr. Round, and the first volume of Schiller 
 became No. la. 
 
 C. E. Proctor gave "Encyclopaedia of Painters 
 and Painting," four volumes; F. B. Schell, "Pic- 
 turesque Canada," two volumes; Freddy Bartlet, 
 
C 98 ] 
 
 Dr. Liibke's "History of Art"; Franklin Tuttle, 
 Tuckerman's "Book of the Artists"; Hamilton 
 Gibson, his new book, "Sharp Eyes"; Miss Alice 
 Dunleavy, a "History of Portugal" (1752); Mrs. 
 Rhoda Holmes Nicholls, Howells's " Venetian 
 Life," two volumes. There were such books as 
 "Modern Billiards," "Cushing's Manual," "Pock- 
 et Hoyle," "Cavendish on Whist," and "Cattle 
 and Dairy Farming." Probably the first hundred 
 books mentioned in the circular were given pre- 
 cedence in the numbering. No. 101 is Spooner's 
 "Anecdotes of Painters." 
 
 Mr. J. Sanford Saltus joined the club in the 
 following year, and gave to the library his first 
 contribution (No. 266 on the old accession list), 
 Burton's "Pilgrimage to El Medinah and Mec- 
 cah." Mr. Saltus's activity in the library began 
 after the removal to the Twelfth Street house. In 
 the fall of 1898 he transferred to the club, from 
 his own library, two hundred books and portfolios, 
 among which was a small collection of curious old 
 and black-letter books. Of these the oldest work 
 is entitled "Commentaris Super Opera Di verso- 
 rum Auctorum," etc., by Annius (J. Viterbensis), 
 printed in double columns of Gothic and Roman 
 letter, without pagination or catchwords, at 
 
J. Sanford Saltus 
 In Court Costume of Edward VII 
 
 PORTRAIT BY GEORGE M. REEVS 
 
[ 99 J 
 
 Rome in the year 1498, by Euchorium Silber. A 
 book printed in 1513, in Gothic text black letter, 
 entitled "Baldi et Sanfranci," shows in a quaint 
 woodcut on the title-page Mr. Baldus handing 
 the Magnum Opus, which seems to be a digest of 
 the laws of Burgundy, to Mr. Sanfrancus. 
 
 "The Secretes of the Reverend Maister Alexis 
 of Piedmont, containyng excellente remedies 
 against diverse diseases, woundes, &c," is "trans- 
 lated out of Frenche into Englishe by Willyam 
 Warde," and printed in Gothic type for " Jhon 
 Wight, London, 1580"; "A Treatise of the 
 Sibyls, &c, particularly concerning the middle 
 state of Souls, written Originally by David Blon- 
 del; Englished by J. D., London. Printed by 
 T. R. for the Authour, and are to be sold by 
 Thomas Dring, at the George in Fleet-street, 
 near Cliff ords-Inne, 1661." 
 
 "The Prognostications of Michael Nostrada- 
 mus, Physician to Henry II., Francis II. and 
 Charles IX., Kings of France, and one of the best 
 Astronomers that ever were," London, 1672. 
 These prophecies are in French verse followed 
 by a literal English translation. In the Preface 
 to the reader, M. Theophilus Garencieres, the 
 translator, makes the following amusing state- 
 
C 100 i 
 
 ment: "This book (The Prognostications of 
 Michael Nostradamus — one of the best astron- 
 omers that ever were) was the first after my 
 Primmer wherein I did learn to read, it being 
 then the Custom in France, about the year 1618, 
 to initiate Children by that Book; First because 
 of the crabbidness of the words; Secondly that 
 they might be acquainted with the old and obso- 
 lete French, such as is now used in the English 
 Law; and Thirdly for the delightfulness and vari- 
 ety of the matter, so that this Book (imp. octavo, 
 pp. 522) in those days was printed every year 
 like an Almanach, or a Primmer for Children." 
 
 Among these old books is a perfect copy of 
 Topsell's Gesner's "The Historie of Four-footed 
 Beastes," printed in London in 1607, fifty-one 
 years older than the edition owned by the New 
 York Public Library. The book-plate of Thomas 
 Blyth, M.A., F.A.S., adorns the cover, and one 
 can almost see the old gentleman gazing with awe 
 on the scaly gorgon of the title-page or at the true 
 picture of the Lamia on page 153, which shows 
 the head and breasts of a woman on the body of 
 a dog covered with scales, its forward feet ter- 
 minating in claws and its hind feet being cleft 
 hoofs. 
 
C 101 H 
 
 When the renaissance of the club began in 
 1898, with the semi-monthly dinners in the old 
 Rogers Studio, the library shared in the forward 
 movement. Since 1890, when a few books were 
 brought together, for eight years William H. 
 Shelton had been librarian by common consent. 
 The office of librarian was not recognized in the 
 constitution, and on February 1 of that year a 
 motion was made so to change the constitution as 
 to provide for the "appointment" of a librarian. 
 At the following election the acting librarian was 
 made a real librarian by an official ballot. 
 
 Soon thereafter a proposal was made by the 
 librarian, which was the beginning of one of the 
 most interesting customs of the club and one 
 which has furnished the library with an ample 
 income from that day to this. The idea suggested 
 was that twenty-four mugs or steins be decorated 
 each year and sold at auction at the library din- 
 ner for the benefit of the library. Each member 
 of the club at that time had his own private mug, 
 decorated by himself, or for him by a professional 
 friend, with his name burned in under the glaze 
 at the Volkmar Pottery. These suggested the 
 library mugs, and limiting the yearly output for 
 the library sale was a plan to keep up prices. 
 
C 102 3 
 
 These mugs were to be decorated by a selected 
 number of artists, each mug numbered and 
 signed. This plan met with prolonged opposition 
 from a faction who believed that an unlimited 
 number of mugs sold at a large reception would 
 yield a larger revenue. One enthusiastic member 
 offered to furnish sixty mugs decorated and 
 burned at his own expense, to be sold at a recep- 
 tion or "stag." Fortunately, as experience has 
 proved, the original plan of the limited number of 
 mugs prevailed, although the librarian of that 
 day never dreamed that one of the twenty-four 
 would be sold at the dinner-table for a thousand 
 dollars. 
 
 Eighteen years have passed since the first li- 
 brary-dinner auction. The customs of a club are 
 those pleasant functions of periodical recurrence 
 which give it character and charm, but which are 
 usually the ripened fruit of a slow growth. This 
 custom, however, of decorating twenty-four ex- 
 libris mugs to be sold at the library dinner was 
 born to the Salmagundians full-fledged • and 
 launched on the high tide of success from its in- 
 ception. The first of these library sales took place 
 after the dinner on May 6, 1899, and the modest 
 sum realized was three hundred and ninety-seven 
 
I 103 3 
 
 dollars. Walter Shirlaw was the guest of honor 
 and the highest price of the evening, sixty dollars, 
 was paid for Mr. Shirlaw's mug, which was prob- 
 ably a graceful compliment accorded by Mr. Sal- 
 tus to the guest of the library. 
 
 On April 1, 1898, a committee was appointed 
 to secure a book-plate for the library, which 
 resulted in what was announced as the "Ex-Lib- 
 ris Dinner" and which was really the first of 
 the Annual Library Dinners. It was known as 
 "Book-Plate Night." The committee consisted 
 of Thomson Willing, Alexander W. Drake, and 
 the librarian. As a result of this movement, Mr. 
 Clarkson Cowl offered a prize of sixty dollars for 
 the best design for a book-plate. The prize was 
 awarded to the pen-drawing of George Elmer 
 Browne, which was reproduced in facsimile and 
 printed on thin Japanese paper and is still in 
 use as the book-plate of the Salmagundi Club. 
 
 The second sale of mugs at the library dinner 
 of 1900 brought six hundred and thirteen dollars, 
 one mug selling for one hundred dollars. In 1891, 
 at the third sale, the amount received at the auc- 
 tion fell back to five hundred and fifteen dollars, 
 and rose again in 1902 to eight hundred and five 
 dollars. One of the mugs decorated by Howard 
 
C 104 3 
 
 Pyle sold for a hundred dollars. In 1904 Mr. 
 Ritschel's mug brought one hundred and eighty 
 dollars, and in 1905 a mug decorated by Mr. Cor- 
 win Knapp Linson sold for two hundred and two 
 dollars. Thus the price of single mugs was stead- 
 ily soaring, due entirely to the progressive gener- 
 osity of one buyer. 
 
 In 1906 the sale was of unusual interest and the 
 prices rose to an aggregate of eleven hundred and 
 eighty-five dollars. In that year's collection was 
 a mug decorated by Edwin A. Abbey. The li- 
 brarian had had a wooden box made in which the 
 white mug traveled to London and returned in 
 the unburned state. The decoration was one of 
 Abbey's quaint and playful designs. An English 
 village inn, with barmaid in the door, is pictured 
 on one side of the mug, and on the other are three 
 very Abbeyesque figures — a jolly roysterer with 
 pipe and bowl, a bell-ringer, ringing; and between 
 the two a half-tipsy Puritan, whom they are evi- 
 dently leading astray, and circling the top and 
 bottom of the mug this rollicking couplet: 
 
 "He that will not merry, merry be, with generous bowl and 
 toast, 
 
 May he in Bridewell be shut up and fast bound to a 
 post." 
 
* 
 
C 105. ] 
 
 There was a sharp contest in the bidding for 
 the Abbey mug and also for a mug by Howard 
 Pyle. Mr. George A. Hearn had sent in a bid of 
 two hundred and fifty dollars for the Abbey mug. 
 The two coveted pieces of delft, however, went 
 into Mr. Saltus's collection, the Abbey for four 
 hundred and sixty-one dollars and the Pyle for 
 two hundred and sixty dollars. This was real 
 bidding, which was not always the case, as, for 
 instance, in the following year a mug decorated 
 by F. Luis Mora sold at the dinner-table for five 
 hundred and five dollars. This was a sum sent 
 over by Mr. Saltus, who was then in Nice, with 
 the simple direction, "Buy me a mug." He 
 wished to place that sum in the library and he 
 wished to do it in his own way. As it was known 
 that he always wished his undivided contribution 
 to be expended for one mug, it was the custom to 
 begin the sale by offering the first choice, and 
 when these large sums had to be expended on one 
 mug there was an amusing competition of irre- 
 sponsible bids, by such of us as were in the secret, 
 until the desired sum was reached. 
 
 By this time the library committee was very 
 proud of the sums realized at the library dinners 
 and of the big prices paid for single mugs, so in 
 
 \ 
 
C 106 ^ 
 
 1908, at the tenth library dinner, Dr. Billings, 
 then at the head of the Astor Library, was made 
 the guest of honor. Imagine our disappointment 
 when the sum realized from that year's sale fell to 
 three hundred and twenty-two dollars and fifty 
 cents, the smallest return from any library sale. 
 
 At the 1909 dinner a mug by F. K. M. Rehn 
 sold for five hundred and fifty-five dollars, and in 
 1911 a mug signed by Ballard Williams sold for 
 six hundred and sixty-two dollars, a sum more 
 than double the amount of the entire evening's 
 receipts at the Billings dinner. 
 
 In 1910 the sum realized from the dinner-sale 
 was eleven hundred and fifty-four dollars, and in 
 1911 it was eleven hundred and eighteen dollars. 
 After the first few years the burning of the de- 
 signs under a heavy glaze at the Volkmar Pot- 
 tery was abandoned for burning without glaze, 
 which better preserved the delicacy of the deco- 
 rated surface. In 1911 the new shape of the mugs, 
 designed and made at the Lenox Pottery at 
 Trenton, New Jersey, made their appearance. 
 In 1912 the mugs brought seven hundred and 
 twelve dollars at the fourteenth annual dinner- 
 sale. The total amount realized for the library 
 fund from these fourteen sales at the dinner-table 
 
t 107 ] 
 
 was ninety-seven hundred and forty-two dol- 
 lars. 
 
 In 1914, Mr. Charles Frederick Naegele was 
 made librarian. He succeeded Mr. Albert A. 
 Southwick, who had succeeded Dr. Henry S. Op- 
 penheimer, who had taken the library in 1908 
 from Mr. Shelton, the first librarian. Mr. Naegele 
 caused the library books to be renumbered and 
 recatalogued on an elaborate card system admir- 
 ably suited to a library that was complete. In- 
 stead of the usual mug sale for revenue, the new 
 librarian designed an elaborate jewel box, with 
 an oval on the lid and circular side panels for 
 decoration. Forty of these boxes were decorated 
 and sold on the evening of March 8, 1915, in the 
 Rose Parlor at the Plaza Hotel. The sum realized 
 at the sale was three thousand dollars. The boxes 
 cost about fifteen dollars each before they passed 
 into the hands of the artists for the decorations, 
 which were painted in oil. After the sale a liberal 
 sum was divided among the decorators, so that in 
 the end the net result was not greater than under 
 the old system. There was so much opposition to 
 the new idea that it was not continued in 1916. 
 There was a lapse in the mug-dinners from 1915 
 to 1917. Mr. Raymond Perry was elected libra- 
 
C 108 3 
 
 rian in 1916, and on the 30th day of January, 
 1917, the old custom was resumed. The first li- 
 brarian was the guest of honor at the library din- 
 ner and Mr. Saltus sat on his right. When first 
 choice was offered to start the sale, Mr. Vezin 
 made a generous bid of one hundred dollars, 
 which was followed by an unusual and ominous 
 silence. It was believed that Mr. Saltus was de- 
 termined to make this particular dinner a great 
 financial success, but how it was to be done did 
 not yet appear. After several more mugs had 
 been sold he confided to the guest of the evening 
 that he was about to buy a mug for one thousand 
 and one dollars: 
 "Bid against me." 
 
 So in the midst of tumultuous applause and 
 hilarity the mug decorated by Mr. William Fair 
 Kline was the first mug to pass the thousand- 
 dollar milestone at a Salmagundian Library din- 
 ner. The total of the evening sale was fourteen 
 hundred and seventy-seven dollars. 
 
 Since the first mug-dinner the library has had 
 money to spend. For the first two years its fund 
 was deposited with the treasurer of the club, but 
 when the office was established with a book- 
 keeper at the desk, and the new treasurer came 
 
COSTUMES OF THE 
 
 THE ♦ SALMAGUNDI • CLU 5 
 NEW YORK M CM 
 
 TITLE-PAGE 
 
 Designed by Thomson Willing : Head by F. Luis Mora 
 
t 109 3 
 
 in, the library balance of two hundred dollars 
 had disappeared. Since that time one member of 
 the library committee has been treasurer and the 
 club has had no control of the funds of the library. 
 
 The library of the Salmagundi Club is a library 
 for artists. It is not large, but in several respects 
 it is a unique library, largely embodying the pe- 
 culiar tastes of one man, for it is a library with 
 an "angel," who appeared unawares when Mr. 
 J. Sanford Saltus brought in his first book, "The 
 Pilgrimage to El Medinah and Meccah," to the 
 little collection at 40 West Twenty-second Street, 
 since which Mr. Saltus has contributed, in value, 
 if not in numbers, more than one half of the li- 
 brary. It is unique in containing, probably, the 
 most complete collection of costume books in 
 America. Out of less than five thousand volumes, 
 more than seven hundred are on costumes, in- 
 cluding most of the rare and curious works on 
 that subject published in Europe at about the 
 close of the eighteenth century. 
 
 At one of the early meetings in the old Rogers 
 Studio, a few fashion plates from "Godey's 
 Lady's Book" were displayed on the wall, which 
 were the forerunners of the unique set of twenty 
 volumes of "The Costumes of the Nineteenth 
 
C no 3 
 
 Century." The compiling of this work, however, 
 which continued during more than two years, was 
 not undertaken until the library had money of its 
 own, which was after the first sale of library mugs 
 in the following year. The first investment for 
 this work was the purchase of a collection of fash- 
 ion plates, mostly English. Each volume of the 
 set covers a period of five years and as far as pos- 
 sible twenty-four original plates were collected 
 for each year. As the work advanced, plates for 
 several of the years were secured with extreme 
 difficulty by Mr. Saltus in the old book-stalls of 
 London, Paris, Cannes, and Nice. The plates 
 were mounted by the same expert, then past 
 eighty years old, who did the mounting and in- 
 laying of the famous volumes compiled by Dr. 
 Thomas Addis Emmet, which are now in the New 
 York Public Library. The title-pages, designed 
 by Mr. Thomson Willing, and the three prefaces 
 are illuminated, and the title-page of each vol- 
 ume is centered with a head painted and signed by 
 an artist member of the club. The first quarto 
 volume, 1800-1805, has a water-color head on 
 the title-page by F. Luis Mora. The other artists 
 on the title-pages, in order of sequence, are James 
 Symington, George Elmer Browne, M. Sandor, 
 
 * 
 
C in 3 
 
 William Verplanck Birney, E. L. Henry, J. San- 
 ford Saltus, William E. Hays, H. C. Edwards, 
 Genjiro Yeto, Gordon Grant, W. A. Schneider, 
 Frank Russell Green, W. C. Ostrander, J. G. 
 Brown, F. S. Church, George W. Maynard, Wal- 
 ter Shirlaw, Hy. Mayer, and Carroll Beckwith. 
 
 Another subject in which Mr. Saltus is inter- 
 ested is the mystery of the French dauphin, 
 Louis XVII, and on this subject the library has 
 the largest collection in the country. The library 
 is rich in technical books on art subjects, and in 
 biographies of painters, including selections from 
 the library of the late John La Farge, and in 
 early books illustrated in aquatint. 
 
 Some of the rare books are: the "Souvenir of 
 the Bal Costume" given by Queen Victoria at 
 Buckingham Palace, May 12, 1842, many of the 
 portraits of the noble guests autographed; "Une 
 Femme de Qualite au Siecle Passe," illustrated 
 by Maurice Leloir, 2 vols., folio, and "The Coro- 
 nation of James II," London, 1687. On the dia- 
 gram of the banquet tables in Westminster Hall, 
 plate 133 is " Salmagundy," plate 117 is "Peri- 
 winkles," and plate 73 is "Pettitoes hot." 
 
 The library possesses a unique folio, its heavy 
 covers stamped with the imperial arms of Russia; 
 
C 112 3 
 
 " Collection — 88 Aquarelles Chinoises . . . pour 
 S.M. L'Empereur de Russie." The eighty-eight 
 aquarelles are full-page Chinese water-colors, on 
 rice paper heavily mounted, of flowers, with their 
 attendant butterflies or moths; "Indian Tribes of 
 North America," M'Kenney and Hall, Philadel- 
 phia, 1838, 3 vols., folio; "Victories of the Duke 
 of Wellington," from drawings of R. W. Westall, 
 R. A. London, 1819; large-paper 'folio; "Acker- 
 mann's Repository of Arts," London, 1809-1828, 
 40 vols. This fine octavo set, bound in old tree 
 calf, contains, in some of the earlier volumes, a 
 unique form of advertising, a distinguished fore- 
 runner of the magazine advertising of the present 
 day. Several forms of woodcut pages provide 
 rectangular blank spaces (in one case these are on 
 the wings of a windmill) on which are mounted 
 samples of woven fabrics and fancy papers of 
 that period, which are as fresh and bright as 
 when they were put on a hundred years ago; 
 "Costumes Militaires Fran^ais, depuis l'organi- 
 sation des premieres troupes regulieres en 1439 
 jusqu'en 1789." 3 vols., folio, Paris, 1850. 
 
 For many years the library dinners were as 
 unique in their artistic setting as in their method 
 of raising a revenue. The late Alexander W. 
 
LIBRARY. 14 WEST 12TH STREET 
 From a charcoal drawing by Charles S. Chapman 
 
c 113 n 
 
 Drake, who was a member of the club and a 
 friend of the library, always contributed of his 
 famous collection of brasses for the decoration of 
 the gallery and the tables. The "blazer," the 
 bottom of a huge sugar boiler, battered into 
 many glittering faces, had its annual place be- 
 hind the president, and superimposed upon a 
 background of rugs were every conceivable form 
 of brazen plaque, platter, plate, dish, disk, me- 
 dallion, bas-relief, and bed-warmer covers, gleam- 
 ing from the four walls, and the tables were 
 lighted by candles in brass candlesticks and an- 
 tique candelabra, and at the head of the table, 
 the four great Russian candlesticks stood high 
 among the roses. It was easy money, the din- 
 ners brought a golden shower, and it was long the 
 ambition of one librarian to come to the library 
 dinner with an empty treasury, asking to be 
 filled again. 
 
 As already stated, the library had its beginning 
 in the little front room at 49 West Twenty-second 
 Street, and found a new lodgment at No. 40, 
 where the magazines were spread out on a library 
 table and bound at the end of the year to increase 
 the number of volumes on the shelves. The li- 
 
C 114 3 
 
 brary-room, which was a reading-room as well, 
 was a sort of alcove screened from the billiard- 
 room by a low partition against which the book- 
 shelves were built. It was here that Mr. Saltus 
 came to the aid of the library, and such activity 
 followed that at the end of two years the collec- 
 tion of books made the journey to Twelfth Street 
 in a number of great baskets and was considered 
 quite a formidable collection. 
 
 In the Twelfth Street house it grew and 
 climbed and expanded and extended for twenty 
 active years, beginning in a large room of its own, 
 climbing gradually to the ceiling, expanding into 
 alcove cases and extending its area by creeping 
 through the hall until it lined the walls of the 
 card-room and claimed the entire third floor of 
 the house for its domain. 
 
 In its third and last move the library migrated 
 in one hundred boxes, in which it remained on 
 storage for two months before going upon the 
 new shelves in its handsome oak room at 47 Fifth 
 Avenue, which is sixty feet long, its two front 
 windows looking across at the Magdalen tower 
 of the Old First Church. 
 
CHAPTER VII 
 
 SOME SOCIAL OCCASIONS 
 Sir, you are welcome to our Club 
 Beginning with that very interesting and very 
 enthusiastic period in 1898 when the semi- 
 monthly dinners, cooked in the laundry by the 
 former chef of the Brevoort House, and served in 
 the Rogers Studio, the Salmagundi Club has been 
 a dining-club. The dining habit has finally crys- 
 tallized into five set functions in the club year; 
 the "Get-together" dinner in the fall when the 
 painter members get in from their summer's work 
 on the shore, in the fields, and in the distant moun- 
 tains: the "Get-away" dinner in the spring when 
 the same professionals are about to get away again 
 with palette and brush; and midway between 
 these two dinners, the "Keep-together" dinner. 
 
 Once during the winter a distinguished painter 
 or sculptor is entertained at dinner. In 1917 it 
 was George de Forest Brush, who was the painter 
 guest of the club, and in 1916 the club enter- 
 tained J. Alden Weir, the former president of the 
 National Academy of Design. The fifth annual 
 dinner is the library dinner at which the twenty- 
 
c 116 n 
 
 four decorated steins, as heretofore described, are 
 sold at auction for the library fund. The costume 
 dinner, formerly a fixture, is growing more and 
 more irregular, although the two Saltus gold 
 medals are always forthcoming, one for the best 
 costume worn by a club member and another for 
 the best costume worn by a guest. These medals 
 are awarded by a popular vote. The successful 
 costume has usually involved a studied charac- 
 terization, well acted, and usually of some hum- 
 ble type, and not a showy dress from the shelves 
 of a costumer. On one occasion a member, who 
 was an opera singer, appeared in a satin coat and 
 knee breeches, silk stockings and a powdered 
 wig, and resigned in disgust because the gold 
 medal was captured by a bashful little Zuni 
 maiden in a very plain skirt and leggings. Medals 
 have been voted to a blanketed Indian, other- 
 wise clothed in red paint and an eagle's feather; 
 to a Zulu bushman with brush tied to the calves 
 of his legs; to Napoleon Bonaparte; to a powder- 
 stained artillery driver of the Civil War; and on 
 one occasion, to a venturesome monkey, who ran 
 grimacing through the pool of water that formed 
 the center of the long head table, scattering the 
 goldfish and spray. 
 
HALLOWEEN DINNER, 14 WEST 12TH STREET 
 From a charcoal drawing by Charles S. Chapman 
 
C 117 3 
 
 There is another annual dinner, though not 
 entirely a club affair, given by Mr. Samuel T. 
 Shaw to the winner of his purchase-prize picture 
 in the Oil Exhibition. The dinner is served on a 
 table shaped like a horseshoe, the guests sitting 
 on the outer rim for the rows of nails and Mr. 
 Shaw presiding at the toe-calk. The center 
 space, within the horseshoe, is reserved for danc- 
 ing or for some other form of spontaneous enter- 
 tainment. After the cloth is removed, a set of 
 paper insets is disclosed extending around the 
 outer rim of the table, on which the artist guests 
 make random sketches in chalks provided for the 
 purpose. Colored reproductions of the prize pic- 
 ture of the evening, autographed on the margin 
 by every one present at the dinner, are the sou- 
 venirs of these occasions. This complimentary 
 dinner to the winner of the Shaw Prize takes place 
 in the gallery when the Annual Oil Exhibition is 
 hung, just one year after the prize was awarded. 
 
 Another function, which is a monthly dinner 
 (during the winter), has been steadily growing in 
 popularity. On one Sunday evening in each 
 month members may bring their wives and 
 sweethearts to a dinner which is usually served 
 in the gallery, during an exhibition, when the 
 
C 118 3 
 
 walls are hung with pictures. A musical enter- 
 tainment usually follows and sometimes dancing. 
 
 The hospitality of the club is extended to sev- 
 eral art societies for their annual dinners and the 
 fame of its good cooking attracts outside frater- 
 nities in which members of the club are interested. 
 
 The popularity of the dinners was to the credit 
 of Hugo Pollock, who had been the steward of 
 the club for fifteen years. Between his appear- 
 ance and the stewardship of Emil Mehl, whose 
 father was the retired chef of the Brevoort House, 
 several stewards have presided for brief and 
 unsatisfactory periods. There was a one-eyed 
 party, who, having been steward on a Gould 
 yacht, promptly began robbing the club in a 
 thorough and practical way, born of his experi- 
 ence in the position from which he had been dis- 
 charged. 
 
 There was an Italian, the proprietor of a table- 
 d'hote restaurant in a neighboring street, who 
 promptly proceeded to provide the wine for his 
 restaurant at the expense of the club. 
 
 There was a third experiment that proved un- 
 satisfactory, and finally, a graduate of the supply 
 department of the Fifth Avenue Hotel, who 
 lodged in the house, and who descended the 
 
C 119 3 
 
 stairs in the morning unfolding a fresh pocket 
 handkerchief as he came and spent most of the 
 day with his feet on the desk in the office. 
 
 On January 24, 1899, the club gave a dinner to 
 its former presidents. It was not a long list of 
 presidential guests. Among the treasures of the 
 club's early pottery, made just before this din- 
 ner, is a large pitcher decorated with the heads of 
 its first six presidents. The heads on the pitcher 
 are those of Joseph Hartley, George W. May- 
 nard, C. Y. Turner, Thomas Moran, Lewis 
 Fraser, and A. T. Van Laer, drawn by the late 
 H. Pruet Share. From this dinner Mr. Moran, 
 the fourth president, and Mr. Van Laer, the sixth 
 president, were absent. Mr. Van Laer had just 
 completed his first term as president of the Sal- 
 magundi Club and Robert C. Minor, who was 
 then president, presided. It is the custom of 
 some clubs to retain the same president for a 
 generation, if he proves to be a post-prandial ora- 
 tor, or a flowery speaker, but it has been the way 
 of the Salmagundi Club to pass the honor around. 
 By the terms of the constitution the president 
 must be an artist, and in practice his rank as a 
 painter has been the first recommendation for 
 that high office. 
 
C 120 3 
 
 So the Salmagundi Club has had many presi- 
 dents for short terms, some of whom have pre- 
 sided graciously at the club dinners. This presi- 
 dential dinner was in the Rogers Studio. The 
 following is quoted from the "Tribune" of the 
 next morning: "Some music was given after the 
 dinner. After this Mr. Minor rose and in a brief 
 speech welcomed the ex-presidents. He said that 
 the club was founded twenty-eight years ago by 
 a few men who had nothing but enthusiasm. 
 Their future would be brightened by their success 
 in the past. The club owed a great deal to the 
 men who had presided over it, and he hoped that 
 they would all live to see it a center of all that 
 was valuable and interesting in the art life of 
 New York City." 
 
 The most memorable dinner ever given in the 
 old house in Twelfth Street was the dinner given 
 on the evening of the 2d of February, 1904, by 
 the Salmagundi Club to its former brother in 
 arms the Tile Club. The Tile Club was only "a 
 memory then, a reminder of the old days in the 
 Sarony show room with the crocodiles and the 
 mummies. The gallery was decorated with the 
 seals of the twenty-two members of that exclu- 
 sive club. Each Tiler's symbol was encircled by 
 
C 121 ] 
 
 his Tile-name. A chestnut burr stood for Ned 
 Abbey, who was known as the "Chestnut," from 
 a story he had on tap that never ended; an owl 
 was the seal for F. Hopkinson Smith, who was 
 known only as the "Owl"; a knife, cross, and 
 crescent for Frank Millet, who was known as the 
 * "Bulgarian"; a bishop's hat for Gedney Bunce, 
 the "Bishop"; a head in a high ruff for William 
 M. Chase, who was known as "Briareus"; a 
 "Griffin" for Swain Gifford; a conical hat for 
 George Boughton, the "Puritan"; a lean lion 
 rampant for Alfred Parsons, "the Englishman"; 
 an eagle's head for Napoleon Sarony, who was 
 called the "Bird of Freedom"; for Strahan (pen- 
 name Earl Shinn), Tile-name the "Bone," a shin 
 bone; for William Paton, called "Haggis," a 
 ram's skull; for Truslow, a friend of Abbey, 
 known as the "Boarder," a knife and fork; for 
 J. Alden Weir, known as "Cadmium," a palette 
 and brushes; for Frederick Dielman, known as 
 the "Terrapin," a Baltimore turtle; a ship for 
 Arthur Quartley, the "Marine"; for William M. 
 
 Laffan, known as " Polyphemus," a head with one 
 
 i 
 
 eye; for Saint Gaudens, known as the "Saint," 
 just a head in a halo; a Roman head for Elihu 
 Vedder, "The Pagan" ; for A. B. Frost, an icicle; 
 
t 122 ] 
 
 for Stanford White, known as the "Builder," a 
 beaver; for George W. Maynard, known as the 
 "Hawk," the head of that bird; and a head for 
 Stanley Reinhart, who was known as "Sirius." 
 
 And these were the seals and the club names of 
 twenty-two Tilers, as shown on the end papers of 
 the "Book of the Tile Club," made in Boston, 
 by Houghton Mifflin Conrpany, and the marvel 
 of its time. 
 
 Not all were expected, for "Sirius" and the 
 "Marine" and the "Bird of Freedom" and the 
 "Bone" had already passed into the beyond. 
 Furthermore, letters were read by the president, 
 J. Scott Hartley, from the "Chestnut," the 
 "Englishman," and the "Puritan," then in Lon- 
 don, from the "Pagan" in Rome, and from 
 "Cadmium," the "Icicle," the "Builder," and 
 from "Briareus." The guests of the Salmagun- 
 dians, former Tilers, who sat down under the 
 great frieze of seals, were the "Owl," "Haggis," 
 the "Terrapin," the "Griffin," the "Bulgarian," 
 the "Hawk," "Polyphemus," the "Saint," the 
 "Bishop," and the four musicians of the old club, 
 William Baird, the baritone, Antonio Knaus, Dr. 
 Lewenberg, otherwise "Catgut," and Gustav 
 Kobbe, the pianist. 
 
C 123 3 
 
 The "Owl" was the orator of the occasion, in- 
 terrupted and guyed by the "Bishop" and by 
 the "Bulgarian." One of the vivid pictures of 
 that dinner that comes to mind is of "Poly- 
 phemus" and the "Bulgarian" making a loving- 
 cup of a stone mug and brimming it over with 
 champagne. Later in the evening a telegram 
 arrived from "Briareus" announcing the safe 
 arrival of a daughter. The telegram arrived 
 while Mr. William Baird, the baritone of the old 
 club, was singing, "The Bedouin Love Song": 
 
 " Oh, gentle wind, oh, tranquil sea 
 Send home my golden ships to me." 
 
 The company rose and drank the health of the 
 young lady, then two hours old, and Dr. Lewen- 
 berg borrowed a violin from the orchestra and 
 played a cradle song of his own composition. 
 
 After the dinner the company adjourned to the 
 library where "The Book of the Tile Club," a 
 gift from the "Owl," and so autographed, was 
 produced and each of the Tilers present signed 
 his illustrations. 
 
 There was one privileged member of the Tile 
 Club, who never was present and who never saw 
 the club. This was George H. Boughton, the 
 London painter of the American Puritan, who 
 
I 124 a 
 
 Abbey said was all sorts of a good fellow, and so 
 he was made a member of the club. An official 
 seal was made for him on parchment to be sent 
 along with the notification of his election. It was 
 promptly decided by the club that the seal 
 looked too new and that what it needed was some 
 decent evidence on its face of a respectable an- 
 tiquity, so it was properly stained and then 
 danced upon by the "Owl," the "Chestnut," and 
 the "Builder" and all the other Tilers until they 
 were exhausted, and then, after the document 
 had been sufficiently abused and violated, it 
 was forwarded to London, where it was framed 
 and hung on the walls of George Boughton's 
 studio. 
 
 From that goodly company of Tilers, who dined 
 with the Salmagundians in 1904, Death, the 
 Reaper, has called ten. The "Bulgarian" went 
 down with the Titanic; the "Puritan" and the 
 "Griffin" live in their works; the "Saint" in his 
 immortal sculptures; "Polyphemus" as the suc- 
 cessor of Charles A. Dana; the "Beaver," victim 
 of an assassin, lives in poems of marble, and the 
 "Chestnut," the "Owl," "Briareus," and the 
 "Bishop" in their works and in the hearts of 
 their admirers. 
 
CARD-BOOM, 14 WEST 12TH STREET 
 From a charcoal drawing by Charles S. Chapman 
 
C 125 3 
 
 The Tile Club was never intended, like the 
 Century Club or the Salmagundi Club, to de- 
 velop into a permanent organization — indeed, if 
 such a development had resulted, it would have 
 been a living offense to the spirit of its founders. 
 The Tile Club was born in maturity; it was lim- 
 ited in membership carefully to forestall expan- 
 sion; it was exclusive and perfectly satisfied with 
 its twenty-two members and three musicians. It 
 was organized at No. 2 Union Square, in an attic 
 studio (afterwards occupied by the writer of this 
 history) , all of which is fully described by the ' * Owl ' ' 
 in his book, " The Wood Fire in No. 3," only read- 
 ing "Tile Club" for "Stone Mugs." 
 
 Madame Blavatsky flew away to India with 
 one of the original members; one or two were 
 eliminated; but nobody ever resigned, for, al- 
 though its habitat was New York, the organiza- 
 tion was international; it had no non-resident 
 members — no dues — no forms — no officers — 
 it never met officially or ever adjourned. 
 
 It ceased to be when its members were too 
 widely scattered to congregate socially; it went 
 out like a candle snuffed by the wind when there 
 was no one at hand to relight it, and in its demise 
 it did honor to the purpose of its founders. 
 
C 126 1 
 
 It has long been a custom of the Salmagundi 
 Club to have a Christmas tree on an evening be- 
 tween the 25th of December and the 1st of Jan- 
 uary, at which gifts are exchanged by a sort of 
 lottery. The gifts are limited in value to twenty- 
 five cents. One of the pleasant recollections of 
 the club is of the Christmas tree when Mr. Felix 
 Lamond was chairman of the entertainment com- 
 mittee, and when we sat around the lighted tree, 
 in the otherwise darkened gallery, the doors were 
 opened and the robed choir of Trinity Chapel, 
 with book and candle, filed in led by Mr. La- 
 mond, the organist, and sang Christmas carols 
 about the tree. 
 
 Among the interesting dinners in the past was 
 one given to the sculptors of the Dewey Arch in 
 1899, and in 1901 a dinner was given to Mr. Louis 
 C. Tiffany on a cast-iron agreement that he 
 should not be called on for a speech. 
 
 On the 27th of February, 1906, a dinner was 
 given to Sir Casper Purdon Clarke and his lieu- 
 tenants in the Metropolitan Museum, Mr. Ed- 
 ward Robinson and Mr. Roger E. Frye. It was a 
 bohemian affair at which some rather startling 
 stunts were pulled off to the surprise and the de- 
 light of Sir Purdon. Mr. Albert Groll performed 
 
t 127 3 
 
 the Grasshopper Dance to a violin accompani- 
 ment by Mr. Frank de Haven and the club re- 
 peatedly sang its favorite chorus: 
 
 "There was an old man named Bill 
 Who lived on the top of a hill, 
 He got drunk in October 
 And he never got sober, 
 And I don't think he ever will." 
 
 On April 30 in the following year a dinner was 
 given in honor of the Curators and Directors of 
 the Public Art Galleries of America, at which 
 Sir Purdon, as Director of the Metropolitan Mu- 
 seum, was the ranking guest. The other guests 
 were John W. Beatty, of the Carnegie Institute 
 at Pittsburgh; Richard N. Brooke, of the Cor- 
 coran Art Gallery at Washington; John G. Hey- 
 wood, of the Worcester Art Museum; A. H. 
 , Bartlett, of the Massachusetts Normal Art 
 School; John E. D. Trask, of the Pennsylvania 
 Academy; and the late Charles N. Kurtz, of the 
 Buffalo Fine Arts Academy. 
 
 The Salmagundi Club has been famous for its 
 cooking and for the artistic decoration of its public 
 and private tables. With all these dinners great 
 and small, and with high living at all times, the 
 Salmagundians, as loyal disciples of Rabelais, were 
 devouring their incomes, much as Pantagruel ate 
 
C 128 3 
 
 his wheat in the ear, and scattered his revenue of 
 Cockchafers, Locusts, and Periwinkles. There 
 was, indeed, the economy of Salmagundi, the cat 
 who licked up the crumbs that fell from the table. 
 He was called " Gundy" for short, and, besides 
 sleeping in the most comfortable chairs, he 
 hunted in the back yards at night. He was a 
 spotted beast with a maltese tail and having 
 lived his short life, there remained behind him 
 sons of Gundy with maltese tails, sleeping on the 
 doormats of half the "hospitable vestibules" in 
 the Washington Square region. 
 
 Having always spent its income generously it 
 is not strange that the Salmagundi Club was 
 usually in debt, not hopelessly in debt, but hope- 
 fully, cheerfully paying bills that were overdue, 
 and paying rent year after year content to be 
 possessed of no real property or any permanent 
 home of its own. 
 
 This was the condition at the beginning of the 
 year 1917, when the opportunity came to buy 
 No. 47 Fifth Avenue, and locate permanently in 
 the neighborhood of Washington Square. In- 
 stead of issuing bonds to raise the seventy-five 
 thousand dollars needed for the purchase of the 
 property, the donations of loyal and public- 
 
C 129 3 
 
 spirited members supplied the means for making 
 a substantial first payment and for completing 
 the building plans and the extensive alterations 
 required. The laymen, as it is customary to call 
 the members who are not artists, turned their 
 pockets inside out to the tune of nineteen thou- 
 sand dollars, and the offering of pictures by the 
 artist members, at a three nights' sale, brought 
 twenty-one thousand dollars in good red gold 
 instead of periwinkles. An artist member gen- 
 erously contributed an additional five thousand 
 dollars and other donations brought the sum of 
 the voluntary contributions to $46,571. 
 
 The purchase of the Fifth Avenue property 
 having been completed, it was realized that the 
 "Get-away" dinner of 1917 would be the last in 
 the old house. The walls of the gallery were 
 lined with a heavy gray paper, and Mr. F. G. 
 Cooper, an accomplished cartoonist, who for 
 many years has drawn the diminutive and gro- 
 tesque headings for the editorials in "Life," was 
 given a free hand in the decorations, which were 
 not diminutive. 
 
 It was a panorama of painters already away at 
 their summer's work, who had turned their backs 
 on the roof that had sheltered them for twenty 
 
C 130 3 
 
 years. There were painters setting up their easels 
 among the polar bears and icebergs of Alaska, 
 and painters chased by great snakes under the 
 palm trees of the tropics and back to frost again, 
 all of which was described by the droll and delib- 
 erate Wildhack. 
 
 Members were forced to do their special stunts 
 for the last time in the old house. Hy . Mayer gave 
 a new and most amusing performance, a lecture 
 on anatomy in wonderfully musical Italian, im- 
 personating an Italian professor, with the help of 
 a skeleton and a set of colored anatomical 
 drawings. 
 
 H. C. Edwards was dragged out to give " Casey 
 at the Bat" for the last time under the old sky- 
 light, and Leo Mielziner, the chairman of the en- 
 tertainment committee, had to do "Barbara Friet- 
 chie and Stonewall Jack and that Onion Flag." 
 
 Between leaving the old club-house and enter- 
 ing the new one, there was a period of two winter 
 months during which the Salmagundi Club was 
 again a wanderer, but by no means a homeless 
 wanderer, for the ruddy firelight of hospitality 
 beckoned its members to the open doors of four 
 brother-clubs, the Princeton Club, the National 
 Arts Club, the Columbia Club, and the City 
 
C 131 3 
 
 Club. The members of the Salmagundi Club, 
 who enjoyed this generous hospitality of the 
 above four clubs, were well fed and well enter- 
 tained. They sat by crackling wood fires in beau- 
 tiful rooms and learned something of the mystery 
 of other clubs. 
 
 As early as November 1 the office of the club 
 was set up in the new house, which may be re- 
 garded as the formal act of taking possession, 
 while the work of construction was still under 
 way. The new club-house was thrown open to its 
 members just in time to celebrate Christmas and 
 to open the first exhibition of the year in the 
 beautiful new gallery. 
 
 THE END 
 
APPENDIX 
 
House Front, 47 Fifth Avenue 
 
f 
 
APPENDIX 
 
 In 1917 the Salmagundi Club bought the house at 47 
 Fifth Avenue, which stands at the center of the block 
 between Eleventh and Twelfth Streets, and opposite 
 to the Old First Presbyterian Church. This house was 
 built by Irad Hawley, who was then president of the 
 Pennsylvania Coal Company at 90 Broadway. In the 
 New York City Directory for 1854-55, Mr. Hawley's 
 residence is given at 21 Rutgers Place, and in the fol- 
 lowing directory for 1855-56 he is in his new house 
 at 47 Fifth Avenue. From these dates it may be as- 
 sumed that the house was built in 1854. 
 
 The purchase price of the property was $75,000, 
 and instead of bonding the club, a large sum was 
 raised by voluntary contributions from the "laymen" 
 and by a sale at auction of paintings contributed by 
 artist members. The cash contributions amounted 
 to $25,382 and the pictures brought $21,189, provid- 
 ing a purchase and building fund of $46,571. 
 
 Extensive repairs were undertaken, including new 
 construction on the entire unoccupied lot, so that, 
 although the club took possession on the 1st of July, 
 the house was not occupied until nearly Christmas, 
 while work on the interior was still in progress. The 
 general plan of alteration was outlined by the archi- 
 tects who were members of the club, Messrs. W. G. 
 Beatty, Charles W. Buckham, W. J. Beauley, H. Van 
 
C 136 3 
 
 Buren Magonigle, J. H. Phillips, Eugene Schoen and 
 the late Goldwin Starrett, and was practically carried 
 out by the building committee, of which Mr. R. F. 
 Kilpatrick was chairman. Mr. Buckham was em- 
 ployed as the building architect. Mr. John Ward 
 Dunsmore was chairman of the committee on deco- 
 ration, and Mr. Bruce Crane and Mr. Frank Rogers 
 were members. 
 
 The house at 14 West Twelfth Street was given up 
 on the 1st of November and for nearly two months 
 the club was without a home. During this period the 
 hospitality of four city clubs, the National Arts, the 
 Princeton, the Columbia, and the City Club, was ex- 
 tended to the Salmagundi Club. Through profes- 
 sional associations, and on account of convenience of 
 location, the National Arts Club and the Princeton 
 Club were most frequented by the Salmagundians 
 during the homeless period, but the hospitality of 
 each of the four clubs is equally and very gratefully 
 acknowledged. 
 
 On the occasion of entering and furnishing the new 
 house generous contributions were made by members; 
 such as a bronze chandelier in memory of the late 
 George A. Hearn presented by Mr. Clarkson Cowl, 
 Mr. Donald Cowl and Mr. Herbert S. Greims; a 
 Stein way grand piano, by Mr. Montague Glass; a 
 musical hall clock, 1696, presented by Mr. Joseph Isi- 
 dor and sisters, and repaired with contribution from 
 Mr. J. Sanford Saltus and Mr. W. H. Shelton. A 
 
C 137 3 
 
 colonial sofa was presented by Mr. W. H. Gibson; two 
 crystal chandeliers by Mr. George A. Zabriskie; two 
 bronze candelabra by Mr. Henry T. Thomas; a read- 
 ing lamp and antique copper vessels by Mr. Edwin S. 
 Chapin; antique arms by Mr. Joseph Isidor and Dr. 
 Henry S. Oppenheimer; library tables by Mr. W. G. 
 Beatty, Dr. Oppenheimer, Mr. David B. Carvalho, 
 and Mr. Fred E. Dayton; the library chairs by Mr. 
 Charles L. Barstow; a figure in Wedgwood, by Mr. 
 Timothy F. Crowley; and Windsor chairs and tables 
 by Mr. Samuel T. Shaw, Mr. Henry H. Cooke, Mr. 
 Charles Mason Fairbanks, Mr. Henry Lang, Mr. A. 
 H. Sonn, Mr. M. Saunders, Mr. R. S. Scarburgh, Mr. 
 Charles Vezin, Mr. William F. Reeves, Mr. E. Irving 
 Couse, Mr. Leon Gordon, Mr. H. R. Rittenburg, Mr. 
 Arthur Litle, Mr. Arthur E. Powell, Mr. H. S. Greims, 
 Mr. John E. Starr, Mr. Walter J. Duncan, Mr. Alex- 
 ander C. Morgan, Mr. H. A. Lindsay, Mr. Fred W. 
 Hutchison, Mr. Henry R. Poore, Mr. Philip F. Timp- 
 son, and Mr. Eugene Ullman. 
 
PRESIDENTS 
 OF THE SALMAGUNDI CLUB 
 
 JOSEPH HARTLEY 1871-1888 
 
 GEORGE W. MAYNARD 1888-1889 
 
 C. Y. TURNER 1889-1893 
 
 THOMAS MORAN 1893-1896 
 
 W. LEWIS FRASER 1896-1897 
 
 A. T. VAN LAER 1897-1898 
 
 ROBERT MINOR 1898-1899 
 
 A. T. VAN LAER 1899-1900 
 
 GEO. H. McCORD 1900-1901 
 
 GEORGE INNESS, Jr 1901-1903 
 
 J. SCOTT HARTLEY . 1903-1905 
 
 A. T. VAN LAER 1905-1908 
 
 HENRY B. SNELL 1908-1910 
 
 F. K. M. REHN 1910-1911 
 
 CARLETON WIGGINS 1911-1913 
 
 CHARLES VEZIN 1913-1914 
 
 F. BALLARD WILLIAMS 1914-1917 
 
PRESENT OFFICERS 
 AND COMMITTEES 
 
 President 
 F. BALLARD WILLIAMS 
 
 Jst Vice-President 
 EMIL CARLSEN 
 
 %nd Vice-President 
 SAMUEL T. SHAW 
 
 Corresponding Secretary 
 
 Recording Secretary 
 
 C. M. FAIRBANKS 
 
 FRANCIS G. WICKWARE 
 
 Treasurer 
 R. F. KILPATRICK 
 
 Art Committee 
 CHAIRMAN, H. B. SNELL 
 WALTER BIGGS ERNEST D. ROTH R. S. BREDIN 
 GEORGE M. BRUESTLE 
 
 House Committee 
 CHAIRMAN, FRED E. DAYTON 
 JAMES C. ELMS F. W. HUTCHISON ARTHUR LITLE 
 C. L. BOONE 
 
 Library Committee 
 CHAIRMAN, ELIOT CLARK 
 TREASURER, ALBERT A. SOUTHWICK 
 J. SANFORD SALTUS GALEN J. PERRETT 
 
 Admissions Committee 
 
 chairman, alexander schilling 
 w. g. beatty w. d. paddock howard giles 
 cullen yates c. w. buckham w. j. aylward 
 james McGregor smith h. a. vincent 
 
 Entertainment Committee 
 CHAIRMAN, FELIX LAMOND 
 
 MONTAGUE GLASS 
 CLARKE G. DAILEY 
 
 DAVID ROBINSON 
 J. H. GARDNER SOPER 
 
 WALTER JACK DUNCAN 
 
» 
 
INDEX 
 
INDEX 
 
 Abbey, Edwin A., at the 
 Tile Club, 43; reception to, 55; 
 an honorary member of the 
 club, 57; often dropped in to 
 see us, 58; his method of work, 
 59; his library mug, 104; guest 
 at the Tile Club dinner, 121. 
 
 Alexis, Grand Duke, his 
 passage up Broadway, 3. 
 
 Andrews, J. P., painted still- 
 life and conch-shells and Eng- 
 lish walnuts, 2. 
 
 Ashleigh, Rutherford, re- 
 cited at "house warming to ye 
 profession only," 61. 
 
 Aylward, W. J., member of 
 committee on admissions, 141. 
 
 Baird, William, the bari- 
 tone of the Tile Club, 122; sings 
 the "Bedouin Love Song," 123. 
 
 Baker, Charles, speaker at 
 the Nickel-in-the-Slot dinner, 
 71 ; moves a vote of thanks, 76; 
 marine on panel by, 87. 
 
 "Baker, Old," assistant to 
 Andrew, 80. 
 
 Barnard, F. E., illustrator 
 of Dickens and Thackeray, 54. 
 
 Barstow, Charles L., li- 
 brary chairs the gift of, 137. 
 
 Bartlett, A. H., at dinner 
 to curators and directors, 127. 
 
 Bartlett, Fred, speaker at 
 the Nickel-in-the-Slot dinner, 
 71 ; early contributor to the li- 
 brary, 97. 
 
 Beatty, John W., at dinner 
 to curators and directors, 127. 
 
 Beatty, W. G., one of the 
 architects who planned the 
 alterations, 135; library table 
 gift of, 137; member of com- 
 mittee on admissions, 141. 
 
 Beauley, W. J., one of the 
 architects who planned the al- 
 terations, 135. 
 
 Becks, "Alf," young Eng- 
 lish actor, 4; in Low's pic- 
 ture, 8. 
 
 Beckwith, Carroll, a slen- 
 der lad from Chicago, 8; head 
 by, on illuminated title-page, 
 111. 
 
 Beer introduced in the club, 
 25. 
 
 Betts, Craven Lang- 
 stroth, motto by, for chapter 
 V, 74. 
 
 Biggs, Walter, member of 
 art committee, 141. 
 
 Billings, Dr., guest at the 
 library dinner, 106. 
 
 Birney, William Ver- 
 planck, painted panel in hall, 
 87; early contributor to library, 
 
C 146 3 
 
 97; head by, on illuminated 
 title-page, 111. 
 
 Bishop, William H., club 
 illustrates an article by, 33. 
 
 Blackmore, Arthur, one of 
 the designers of the tiled fire- 
 place, 84. 
 
 Blavatsky, Madame, flew 
 away to India with a member 
 of the Tile Club, 125. 
 
 Blenner, Carl J., painted 
 one of the panels in the hall, 
 87. 
 
 Boone, C. L., member of 
 house committee, 141. 
 
 Boughton, George, his Tile 
 Club name the "Puritan," 121; 
 treatment of his Tile Club seal, 
 124. 
 
 Bredln, R. S., member of 
 art committee, 141. 
 
 Brooke, Richard N., at 
 dinner to curators and direc- 
 tors, 127. 
 
 Brown, George David, of 
 the New York Herald, 5; occu- 
 pied studio where the club was 
 born, 10. 
 
 Brown, Hugo, first steward 
 of the club, 62; had seen better 
 days, 63; commits suicide, 64. 
 
 Brown, J. G., made honor- 
 ary member for financial as- 
 sistance after the exhibition of 
 1879, 29; head by, on illumin- 
 ated title-page, 111. 
 
 Browne, George Elmer, 
 designed book-plate of club, 
 
 103; head by, on illuminated 
 title-page, 110. 
 
 Bruestle, George M., 
 member of art committee, 141. 
 
 Brush, George de Forest, 
 painter-guest of the club, 115. 
 
 Buckham, Charles W., one 
 of the architects who planned 
 the alterations, 135; employed 
 as the building architect, 136; 
 member of committee on ad- 
 missions, 141. 
 
 Bunce, Gedney, one of the 
 guests at the Tile Club dinner, 
 121. 
 
 Bunce, Mr., a nervous gen- 
 tleman at Appleton's, 12. 
 
 Bunner, Rudolph, panel 
 by, 88. 
 
 Burns, Milton J., in club 
 picture, 8; one of the incorpo- 
 rators, 20; contestant in rapid 
 chalk drawing, 32. 
 
 Cannon, Legrand, ap- 
 proved of the canal-boat 
 scheme, 65. 
 
 Carlsen, Emile, still-life 
 by, came to the club through 
 Inness prize, 88 ; first vice- 
 president of club, 141. 
 
 Carrington, J. B., "Old 
 friends and new who gather 
 here," xii. 
 
 Carvalho, David N., donor 
 of library table, 137. 
 
 Century Company asks the 
 club to make a new cover for 
 
C 147 3 
 
 the St. Nicholas, a subject for 
 one of the weekly contests, 
 33. 
 
 Champney, J. Wells, one of 
 the incorporators of the club, 
 20; at the Abbey reception, 57. 
 
 Chapin, Edwin S., reading 
 lamp and copper vessels the 
 gift of, 137. 
 
 Chase, William M., absent 
 from the Tile Club dinner, 121. 
 
 "Chris," the German jan- 
 itor, at 896 Broadway, 24; filled 
 the pots with beer, 25. 
 
 Christopher, Andrew, a 
 Swedish sailor, 78; given leave 
 of absence to visit Sweden, 81; 
 "disappeared over the rail with 
 his dunnage," 83. 
 
 Church, F. S., original mem- 
 ber of the Sketch Class, 2; 
 comes up from Harper's with a 
 market-basket full of blocks, 
 13; speaker at the Nickel-in- 
 the-Slot dinner, 71; head by, 
 on illuminated title-page, 111. 
 
 City Club, the, hospitality 
 of, to the Salmagundi Club, 
 130." 
 
 Clark, Eliot, chairman of 
 library committee, 141. 
 
 Clark, Walter, one of the 
 incorporators of the club, 20. 
 
 Clarke, Sir Casper Pur- 
 don, a dinner given to, 126; 
 guest at the dinner to curators 
 and directors, 127. 
 
 Columbia Club, hospitality 
 
 of, to the Salmagundi Club, 
 130. 
 
 Cooke, Henry H., gift of 
 chairs from, 137. 
 
 Cooper, F. G., gallery deco- 
 rated by, 128. 
 
 Couse, Irving, a panel by, 
 88; gift of chairs by, 137. 
 
 Cowl, Clarkson, buys 
 decorated souvenir of dinner, 
 85; offers prize for design for 
 club book-plate, 103; co-donor 
 of the Hearn chandelier, 136. 
 
 Cowl, Donald, co-donor of 
 the Hearn chandelier, 136. 
 
 Crabtree, son of Lotta, 
 visitor at early meetings of 
 Sketch Class, 6. 
 
 Craig, Thomas, receives 
 vote of thanks for services in 
 securing Twelfth Street house, 
 76; painted panel in hall, 87. 
 
 Crane, Bruce, at the house 
 warming at 123 Fifth Avenue, 
 53; helped decorate the Twelfth 
 Street house, 81; begins his 
 career as club auctioneer, 85; 
 panel by, 88; member of com- 
 mittee on decoration, 136. 
 
 Crowley, Timothy F., 
 Wedgwood figure gift of, 137. 
 
 Dailey, Clarke G., mem- 
 ber of entertainment commit- 
 tee, 141. 
 
 Daugon, Victor, sang at 
 "house warming to ye profes- 
 sion only," 61. 
 
C 148 3 
 
 Dayton, Fred E., donor of 
 library table, 137 ; chairman of 
 house committee, 141. 
 
 De Haven, Frank, land- 
 scape by, comes to the club 
 through Inness prize, 88; violin 
 accompaniment by, 127. 
 
 Denslow, W. W., is recog- 
 nizable in a silk hat, 8. 
 
 Depew, Chauncey, had 
 never heard of the Salmagundi 
 Club, 65. 
 
 Dessar, Paul, his work on 
 tiled fireplace, 84; panel by, 87. 
 
 Dielman, Frederick, name 
 appears on secretary's report, 
 December 30, 1876, 15; elected 
 a member, 24; his Tile Club 
 name the "Terrapin," 121. 
 
 Dolph, J. H., speaker at the 
 Nickel-in-the-Slot dinner, 71; 
 cat on panel by, 87. 
 
 Drake, Alexander W., at 
 reception at 123 Fifth Avenue, 
 53; on book-plate committee, 
 103; his brasses at the library 
 dinners, 113. 
 
 Drake, W. H., member of 
 house committee, 62; speaker 
 at the Nickel-in-the-Slot din- 
 ner, 71 ; one of the decorators of 
 the Twelfth Street house, 81; 
 his work on tiled fireplace, 84. 
 
 Dressler, E. J., at the 
 Nickel-in-the-Slot dinner, 71. 
 
 Duncan, Walter J., gift of 
 chairs from, 137; member of 
 library committee, 141. 
 
 Dunleavy, Alice, early con- 
 tributor to the library, 96. 
 
 Dunsmore, John Ward, 
 chairman of the committee on 
 decoration, 136. 
 
 Durand, E. L. , at the Nickel- 
 in-the-Slot dinner, 72. 
 
 Durkin, John, the "all- 
 'round draughtsman " : at the 
 house warming at 123 Fifth 
 Avenue, 53; as the dusky 
 squaw "Laughing Bourbon," 
 54; in the old Lotus parlor, 69. 
 
 Earle, L. C, painted a panel 
 in the hall, 87. 
 
 Eaton, Charles Warren, 
 painting by, came to the club 
 through Inness prize, 88. 
 
 Eddy brothers, seance in 
 Eighth Avenue, 36. 
 
 Edwards, H. C, head by, 
 on illuminated title-page, 111; 
 gave "Casey at the Bat," 
 130. 
 
 Eight ninety-six Broadway, 
 a shabby and picturesque old 
 building, 14. 
 
 Elms, James C, member of 
 house committee, 141. 
 
 Emslie, Alfred E., original 
 member of Sketch Class, 2. 
 
 Etching Club, drank whis- 
 key and ginger ale, 24. 
 
 Evans, De Scott, at the 
 Nickel-in-the-Slot dinner, 71; 
 painted one of the panels in the 
 hall, 87. 
 
C 149 3 
 
 Evans, William T., speaker 
 at the Nickel-in-the-Slot din- 
 ner, 71. 
 
 Fairbanks, Charles Ma- 
 son, gift of chairs by, 137; cor- 
 responding secretary, 141. 
 
 Fildes, Luke, illustrator on 
 the London Graphic, 47. 
 
 Fisk, Colonel Jim, at the 
 head of the Ninth Regiment, 4. 
 
 Fitler, William C, at the 
 Nickel-in-the-Slot dinner, 71; 
 landscape by, 86; painted panel 
 in hall, 87. 
 
 Fowler, Frank, favorite 
 tenor in the Salmagundi Glee 
 Club, 33. 
 
 Fowler, Mr., owner or 
 agent of the building, 596 
 Broadway, 9. 
 
 Fox, George, played Hump- 
 ty Dumpty at the Globe The- 
 ater, 11. 
 
 Fraser, W. Lewis, at the 
 house warming at 123 Fifth 
 Avenue, 53; speaker at the 
 Nickel-in-the-Slot Dinner, 71; 
 on the committee that found 
 the Twelfth Street house, 75; 
 established the "Hungry Joe," 
 89;^head of, on the presidential 
 pitcher, 119; president of club, 
 1896-1897, 139. 
 
 Frost, A. B., joined the club 
 in January, 1877, 28; "dropped 
 to go to England," 29; his Tile 
 Club name the "Icicle," 121. 
 
 Frye, Roger E., guest at 
 the Clarke dinner, 126. 
 
 Fuerdent, M. Gaston, who 
 had just attacked the Di Ces- 
 nola collection at the Metro- 
 politan Museum, leads the 
 quartette at club reception, 32. 
 
 Gaul, Gilbert, name first 
 appears, 21. 
 
 Gibson, Hamilton, early 
 contributor to the library, 98. 
 
 Gibson, W. H., a colonial 
 sofa the gift of, 137. 
 
 Gifford, Swain, his Tile 
 Club name the "Griffin," 121. 
 
 Giles, Howard, member of 
 admissions committee, 141. 
 
 Glass, Montague, Stein- 
 way grand piano a gift from, 
 136; member of entertainment 
 committee, 141. 
 
 Goelet's, Peter, house at 
 the corner of Nineteenth Street, 
 15. 
 
 Goodwin, Cheever, on com- 
 mittee that found Twelfth 
 Street house, 75. 
 
 Gordon, Leon, gift of chairs 
 by, 137. 
 
 Graham, Charles, name 
 first appears, 22 ; at house 
 warming at 123 Fifth Avenue, 
 53; as Chief "Not Afraid of Fire 
 Water," 54; in the old Lotus 
 parlor, 69; bells on his legs, 70. 
 
 Grant, Gordon, head by, 
 on illuminated title-page, 111. 
 
C 150 1 
 
 Green, C, illustrator on the 
 London Graphic, 47. 
 
 Green, Frank, invitation to 
 house warming by, 61; helped 
 decorate Twelfth Street house, 
 81; horse and cart by, 86; 
 painted one of the panels in 
 hall, 87 ; head by, on illuminated 
 title-page, 111. 
 
 Gregory, Frank M., of the 
 Punch and Judy show, 31; his 
 studio the meeting-place of the 
 club, 43. 
 
 Greims, Herbert Spencer, 
 co-donor of the Hearn chande- 
 lier, 136; gift of chairs from, 
 137. 
 
 Groll, Albert, marine by, 
 came to the club through Mor- 
 gan prize, 89; performs the 
 "Grasshopper Dance," 127. 
 
 " Gundy," the cat, 128. 
 
 Harris, Charles, sings in 
 the quartette at club reception, 
 32. 
 
 Hartley, John, who led in 
 the boxing, 2; setting the table, 
 8. 
 
 Hartley, Jonathan Scott, 
 first meeting of club in the 
 studio of, 1; preparing the sau- 
 sages, 7; goes abroad, 14; re- 
 turns to New York, 15; sug- 
 gests name of the club, 16; one 
 of the incorporators, 20; pro- 
 poses to expose the Eddy broth- 
 ers, 36; makes a dive under the 
 
 curtain, 39; at the Nickel-in- 
 the-Slot dinner, 71; early con- 
 tributor to library, 97; presided 
 at the Tile Club dinner, 122; 
 president of club, 1903-1905, 
 139. 
 
 Hartley, Joseph, secretary 
 as well as chairman, 3; one of 
 the incorporators of the club, 
 20; becomes president of the 
 club, 20; treasurer of the club 
 at time of removal to Twelfth 
 Street, 74; was empowered to 
 engage Mr. Andrew Christopher 
 and wife, 78; directed to issue 
 bonds, 81 ; head of, on the presi- 
 dential pitcher, 119. 
 
 Hawley, Irad, who built 
 the house 47 Fifth Avenue, 135. 
 
 Hays, William J., head by, 
 on illuminated title-page, 111. 
 
 Hearn, George A., sends in 
 a bid for the Abbey mug, 105; 
 a bronze chandelier in memory 
 of, 136. 
 
 Henry, E. L., head by, on 
 illuminated title-page, 111. 
 
 Herkomer, Hubert, illustra- 
 tor on the London Graphic, 47. 
 
 Heywood, John G., at din- 
 ner to curators and directors, 
 127. 
 
 Hirschberg, Carl, meetings 
 of club held in the studio of, 23. 
 
 Holl, Frank, illustrator on 
 the London Graphic, 47. 
 
 Houghton, A. B., illustrator 
 on the London Graphic, 47. 
 
C 151 J 
 
 Houghton Mifflin Com- 
 pany, makers of the Tile Club 
 book, "the marvel of its time," 
 122. 
 
 Howe, William H., painted 
 a panel in the hall, 87. 
 
 Huffington, rents room to 
 club, 24. 
 
 "Hungry Joe, The," a 
 weekly supper, 89. 
 
 Hutchison, Fred W., gift 
 of chairs from, 137; member of 
 house committee, 141. 
 
 Ince, John E., recited at 
 "house warming to ye profes- 
 sion only," 61. 
 
 Inness, George, disposed to 
 look leniently on the super- 
 natural, 36; illustrated invita- 
 tion, to, 41. 
 
 Inness, George, Jr., one of 
 the incorporators of the club, 
 20; panel by, 88; gives a prize, 
 the picture to go to the club, 
 88; president of club, 1901- 
 1903, 139. 
 
 Isidor, Joseph, and sisters, 
 gift of hall clock, 136; gift of 
 antique arms, 137. 
 
 Johnston, John Taylor, 
 sends check to help pay deficit 
 on third black-and-white ex- 
 hibition, 35. 
 
 Jones, Bolton, painted one 
 of the panels in the hall, 
 87. 
 
 Jones, Frank, painted one 
 of the panels in the hall, 87. 
 
 Josephi, I. H., his work on 
 tiled fireplace, 84; miniature 
 by, 88. 
 
 Keller, Arthur I., interior 
 by, came to the club through 
 the Morgan prize, 89. 
 
 Kelly, Edgar S., gives 
 piano solo at Abbey reception, 
 56. 
 
 Kelly, James, opposed to 
 introducing beer, 25. 
 
 Kemble, E. W., young 
 brave "Dancing Bull," 54; 
 recitation by, 56; acted as 
 monkey, 57; in the old Lotus 
 parlor, 69. 
 
 Kerr, George F., at the 
 Nickel-in-the-Slot dinner, 71. 
 
 Kilpatrick, R. F., chair- 
 man of the building committee, 
 136; treasurer of club, 141. 
 
 Kirkman, Alec, present at 
 the early meetings, 2. 
 
 Kline, William Fair, li- 
 brary mug by, brings one 
 thousand and one dollars, 
 108. 
 
 Knaus, Antonio, one of the 
 musicians of the Tile Club, 
 122. 
 
 Kobbe, Gustav, painist of 
 the Tile Club, 122. 
 
 Kurtz, Charles N., at din- 
 ner to curators and directors, 
 127. 
 
C 152 3 
 
 La Farge, John, selections 
 from the library of, 111. 
 
 Laffan, William M., his 
 Tile Club name "Polyphemus," 
 
 m. 
 
 Lamond, Felix, leads in the 
 boy-choir of Trinity Chapel, 
 126; chairman of entertain- 
 ment committee, 141. 
 
 Lane, John, "a mysterious 
 and forbidding-looking party," 
 8. 
 
 Lang, Henry, gift of chairs 
 by, 137. 
 
 Lanthier, Mr., part of a 
 house in Tenth Street lately 
 occupied by, considered by 
 site committee, 75. 
 
 Larousse spells the word 
 "Salmigondis," 20. 
 
 Lauber, "the Secretary's" 
 name first appears, 21; at the 
 house warming at 123 Fifth 
 Avenue, 53. 
 
 Lawrence, Mr., president 
 of the Lotus Club, at Nickel- 
 in-the-Slot dinner, 70. 
 
 Leavitt Galleries, 817 
 Broadway, picture auction 
 mart of that day, 27; first club 
 sale at, 28. 
 
 Lee, Homer, panel by, 88. 
 
 Levy, Herbert, on com- 
 mittee that found Twelfth 
 Street house, 75. 
 
 Lewenberg, Dr., violinist 
 of the Tile Club, 122; plays a 
 cradle song, 123. 
 
 Library mugs, the, begin- 
 ning of the custom, 101. 
 
 Lindsay, H. A., gift of chairs 
 from, 137. 
 
 Linson, Corwin Knapp, li- 
 brary mug by, brings two hun- 
 dred and two dollars, 104. 
 
 Litle, Arthur, gift of chairs 
 from, 137; member of house 
 committee, 141. 
 
 LooMis, Charles Battell, 
 recited at "house warming to 
 ye profession only," 61. 
 
 Lotus Club, the, in its old 
 quarters at Twenty-second 
 Street and Fifth Avenue, 68. 
 
 Low, Will H. , original mem- 
 ber of the Sketch Class, 2; pic- 
 ture of the class made by, 7; 
 reports events of which he had 
 been a witness, 12. 
 
 McCord, George H., at the 
 Nickel-in-the-Slot dinner, 71; 
 painted panel in hall, 87 ; presi- 
 dent of the club, 1900-1901, 
 139. 
 
 Magonigle, H. Van Bur en, 
 one of the architects who 
 planned the alterations, 1S6. 
 
 Marble, J. N., painted panel 
 in hall, 87. 
 
 Marshall, the engraver, 6. 
 
 Maurer, Alfred H., pic- 
 ture, lady drinking tea, came 
 to the club through Inness 
 prize, 88. 
 
 Mayer, Hy., head by, on il- 
 
[ 153 3 
 
 luminated title-page, 111; gave 
 a lecture on anatomy, 130. 
 
 Maynard, George W., pro- 
 posed for membership, 21 ; club 
 night changed from Saturday 
 to Friday on account of, 26; 
 president of the club, 53; head 
 by, on illuminated title-page, 
 111; head of, on the presiden- 
 tial pitcher, 119; his Tile Club 
 name the "Hawk," 122; presi- 
 dent of club, 1888-1889, 139. 
 
 Mehl, Emil, succeeds An- 
 drew Christopher as steward, 
 83. 
 
 n Mielziner, Leo, " had to do 
 / Barbara Frietchie and Stone- 
 wall Jack, and that Onion 
 Flag," 130. 
 
 Millet, Frank, guest at the 
 Tile Club dinner, 121. 
 
 Minor, Robert C, rents 
 part of studio to club, 34; re- 
 cording secretary at time of 
 removal to Twelfth Street, 74; 
 painted one of the panels in 
 the hall, 87; presided at the 
 presidential dinner, 119; his 
 speech, 120; president of club, 
 1898-1899, 139. 
 
 Mitchill, Bleecker, occu- 
 pied studio with Reinhart and 
 Abbey, 58. 
 
 Moore, Thomas, his "Sal- 
 magundian Hymn," 17. 
 
 Mora, F. Luis, panel by, 
 "Summer," for "Red Room," 
 93; library mug by, brings five 
 
 hundred and five dollars, 105; 
 head by, on illuminated title- 
 page, 110. 
 
 Moran, Paul, painted panel 
 in hall, 87. 
 
 Moran, Thomas, his imita- 
 tion Turner, 56; president of 
 the club, presided at Nickel- 
 in-the-Slot dinner, 71; head of, 
 on the presidential pitcher, 119; 
 president of club, 1893-1896, 
 139. 
 
 Morgan, A. C, one of the 
 incorporators of the club, 20; 
 his amusing treatment of the 
 subject "The End," 27; sings 
 in the Glee Club, 32; issues a 
 circular as treasurer, 45; panel 
 by, 88; gives prize, the picture 
 to go to the club, 88 ; early con- 
 tributor to library, 97; gift of 
 chairs from, 137. 
 
 Morgan, Herbert, painted 
 one of the hall panels, 87. 
 
 Morris, Fellx, recited at 
 the Nickel-in-the-Slot dinner, 
 71. 
 
 Mosler, Henry, painted 
 panel in hall, 87. 
 
 Murphy, J. Francis, one of 
 the incorporators of the club, 
 20; contestant in rapid chalk 
 drawing, 32; at the Nickel-in- 
 the-Slot dinner, 71; painter of 
 one of the hall panels, 87. 
 
 Museum, Metropolitan, 
 asks the club to decorate one 
 of its rooms, 33. 
 
Naegele, Charles Freder- 
 ick, painted one of the panels 
 in hall, 87; his handling of the 
 library, 107. 
 
 National Arts Club, hos- 
 pitality of, to the Salmagundi 
 Club, 130. 
 
 Niblo's Garden, destroyed 
 by fire, 10. 
 
 Nichols, H. C, a panel by, 
 88. 
 
 Nicholls, Rhoda Holmes, 
 early contributor to the library, 
 98. 
 
 Ochtman, Leonard, land- 
 scape by, came to the club from 
 Morgan prize, 89. 
 
 O'Donovan, the sculptor, 
 present at the early meetings 
 of Sketch Class, 6. 
 
 Ogden, Harry, name ap- 
 pears in early records, 21. 
 
 Oliphant, Mr., president of 
 the Delaware and Hudson 
 Canal Company, approved of 
 the canal-boat project, 65. 
 
 Oppenheemer, Dr. Henry 
 S., second librarian of club, 
 107; library table and antique 
 arms gift of, 137. 
 
 Osborne, Charles, one of 
 the incorporators of the club, 
 20; sings in Glee Club, 32; 
 "deep, deep bass" of club 
 quartette, 33. 
 
 Osborne, Sidney, one of the 
 incorporators of the club, 20. 
 
 OSTRANDER, WlLLIAM C, 
 
 one of the designers of the tiled 
 fireplace, 84; floral panel by, 
 88; head by, on illuminated 
 title-page, 111. 
 
 Paddock, W. D., member of 
 admissions committee, 141. 
 
 Parsons, Alfred, his Tile 
 Club name the "Englishman," 
 121. 
 
 Parsons, Charles, head of 
 the art department at Harper's, 
 11. 
 
 Pastor's, Tony, was just 
 'round the corner, 11. 
 
 Paton, William, Tile Club 
 name "Haggis," 121. 
 
 Pelham, Walter, of the 
 Savage Club, London, 54. 
 
 Pepper, Harry, sang at 
 "house warming to ye profes- 
 sion only," 61. 
 
 Perrett, Galen J., mem- 
 ber of library committee, 141. 
 
 Perry, of "Scribner's," at 
 house warming, 53. 
 
 Perry, Raymond, the fifth 
 librarian, 107. 
 
 Pfister, Eugene, present at 
 early meetings of SketchClass, 6. 
 
 Phillips, J. H., one of the 
 architects who planned the 
 alterations, 136. 
 
 Piggot, George W., assists 
 at Punch and Judy show, 31. 
 
 Pollock, Hugo, steward ^of 
 the club for fifteen years, 118. 
 
C 155 3 
 
 Poore, Henry R., gift of 
 chairs from, 137. 
 
 Pothast, Edward, a panel 
 by, 88. 
 
 Powell, Arthur E., gift of 
 chairs from, 137. 
 
 Preyer, "little," German 
 still-life painter, 27. 
 
 Princeton Club, the, hos- 
 pitality of, to the Salmagundi 
 Club, 130. 
 
 Proctor, Charles E., mem- 
 ber of the house committee, 
 62; at the Nickel-in-the-Slot 
 dinner, 71; helped decorate 
 Twelfth Street house, 81; 
 painted panel in hall, 87; early 
 contributor to library, 97. 
 
 Punch and Judy window at 
 896 Broadway, 31; first black 
 and white exhibition came 
 through, 32. 
 
 Pyle, Howard, name first 
 appears, 21; usually too busy 
 to attend the meetings, 26; li- 
 brary mug by, in 1902 sells for 
 one hundred dollars, 104; in 
 1906 for two hundred and sixty 
 dollars, 105. 
 
 Quartley, Arthur, in a 
 Japanese grass skull-cap, 43; 
 his Tile Club name the "Ma- 
 rine," 121. 
 
 Rabelais uses the word 
 "Salmagundin," 17. 
 Ranger, Henry W., advo- 
 
 cated keeping the club bohe- 
 mian, 50; master of ceremonies 
 at house warming, 123 Fifth 
 Avenue, 51; proposes to bring 
 a discontented element in the 
 Lotus Club to the Salmagundi, 
 68; master of ceremonies at the 
 Lotus Club, 69. 
 
 Ream, Vinnie, models a 
 bust of Peter Cooper, 13. 
 
 Redmond, J. J., his work on 
 tiled fireplace, 84. 
 
 Reeves, William F., gift 
 of chairs from, 137. 
 
 Reevs, George M., panel, 
 "Autumn " by, for Red Room, 
 93. 
 
 Rehn, F. K. M., made the 
 first purchase of furniture, 60; 
 painted one of the panels in the 
 hall, 87 ; library mug by, brings 
 five hundred and fifty-five dol- 
 lars, 106; president of club, 
 1910-1911, 139. 
 
 Relnhart, Stanley, at the 
 Abbey reception, 55; his Tile 
 Club name "Sirius," 122. 
 
 Ritchie, G. W. H., "the* 
 steel engraver and chief wit of 
 the club," 53. 
 
 Ritschel, William, library 
 mug by, brings one hundred 
 and eighty dollars, 104. 
 
 RlTTENBURG, H. R., gift of 
 
 chairs from, 137. 
 
 Rix, Julian, landscape panel 
 by, 87. 
 
 Robinson, David, member 
 
I 156 ] 
 
 of entertainment committee, 
 141. 
 
 Robinson, Edward, guest 
 at the Clarke dinner, 126. 
 
 Robinson, Theodore, at 
 the Sarony receptions, 43. 
 
 Rogers, Frank, member of 
 the committee on decoration, 
 136. 
 
 Rogers groups, 75. 
 
 Rogers, John, Twelfth 
 Street house his city home, 75 ; 
 wished to retire to New Ca- 
 naan, 72. 
 
 Rogers, W. A., name first 
 appears, 21. 
 
 Roth, Ernest D., member 
 of art committee, 141. 
 
 Round, William F., con- 
 tributed first book to library, 
 96. 
 
 Rowe, George Fawcett, 
 at the house warming at 123 
 Fifth Avenue, 53. 
 
 Ruth rauff, C. C, speaker 
 at the Nickel-in-the-Slot din- 
 ner, 71. 
 
 Saint-Gaudens, Augustus, 
 his Tile Club name the "Saint," 
 121. 
 
 St. John, J. Allen, panel 
 "Spring" for Red Room by, 
 93. 
 
 "Salmagundi, or Whim- 
 whams and Opinions of Launce- 
 lot Longstaff , Esq., and others," 
 16; in Rabelais, "Salmagun- 
 
 din," 17; Moore's "Hymn" to, 
 17; letter of the late Russell 
 Sturgis on, 19; spelled "Salmi- 
 gondis" by Larousse, 20. 
 
 Salmagundi Club, born at 
 596 Broadway, 1; membership 
 limited to twenty, and name 
 adopted January, 1877, was the 
 "Salmagundi Sketch Club," 
 16; incorporators of, 20; a con- 
 stant shifting of membership, 
 21; reorganization of, 23; re- 
 moves to 1 Union Square, 24; 
 admits beer, 25; moves to 
 Science Hall and changes meet- 
 ing night, 26; list of members, 
 28; one of the curious customs 
 of, 29; returns to 896 Broad- 
 way, 31; moves into part of 
 Robert Minor's studio, 34; 
 takes to meeting at members' 
 studios, 35; receptions at Sa- 
 rony's, 41; its fourth exhibition 
 in black and white a success, 
 43; meetings in the Benedict, 
 43; exhibition of 1880 especially 
 interesting, 47; moves to 123 
 Fifth Avenue, 50; opening of 
 the new quarters, 51; moves to 
 121 Fifth Avenue, 54; reception 
 to Ned Abbey, 55; moves to 49 
 West Twenty-second Street, 
 60; moves to 40 West Twenty- 
 second Street, 63; the Nickel- 
 in-the-Slot dinner, 70; moves 
 to 14 West Twelfth Street, 74; 
 opens a grill-room, 92; its li- 
 brary, 95 ; gives a dinner to the 
 
C 157 1 
 
 Tile Club, 120; moves to 47 
 Fifth Avenue, 131. 
 
 Saltus, J. Sanford, his ac- 
 tivity in the library begins, 98; 
 his method of buying mugs 
 when abroad, 105; buys library 
 mug for one thousand and one 
 dollars, 108; has contributed 
 more than half the library, 109; 
 fashion plates secured abroad 
 by, 110; his Louis XVI collec- 
 tion, 111; head by, on illumi- 
 nated title-page, 111; contrib- 
 utes to repairing clock, 136; 
 member of library committee, 
 141. 
 
 Sandor, M., head by, on 
 illuminated title-page, 110. 
 
 Sarony, Napoleon, con- 
 testant in rapid chalk drawing, 
 32; his photograph gallery in 
 Union Square, 41 ; his departure 
 through the window, 42; his 
 Tile Club name the "Bird of 
 Freedom," 121. 
 
 Saunders, M., gift of chairs 
 from, 137. 
 
 Sawyer, Wallace, piano 
 solo by, at Abbey reception, 
 56. 
 
 SCARBURGH, R. S., gift of 
 
 chairs from, 137. 
 
 Schell, F. B., early con- 
 tributor to the library, 97. 
 
 Schilling, Alexander, 
 grinds the organ at Abbey re- 
 ception, 56; chairman of ad- 
 missions committee, 141. 
 
 Schneider, W. A., head by, 
 on illuminated title-page, 111. 
 
 Schoen, Eugene, one of the 
 architects who planned the 
 alterations, 136. 
 
 Science Hall, permanent 
 quarters in 1878, 26; first exhi- 
 bition of drawings made from, 
 27. 
 
 Sedelmayer, manager, of- 
 fers space behind the curtain 
 for meeting-place of club, 50. 
 
 Share, H. P., sits on the 
 turn-table, 8; one of the in- 
 corporators of the club, 20; 
 contestant in rapid chalk draw- 
 ing, 32; heads by, on presiden- 
 tial pitcher, 119. 
 
 Shaw, Samuel T., chairman 
 of the house committee, estab- 
 lished a cocktail closet, 86; his 
 annual dinner, 117; gift of 
 chairs from, 137; second vice- 
 president of club, 141. 
 
 Shelton, William H., orig- 
 inal member of the Sketch 
 Class, 2; sits astride a chair, 8; 
 one of the incorporators of the 
 club, 20; a travesty on the 
 "Angelus" by, 56; suggests 
 building the Seneca Chief, 67; 
 painted panel in hall, 87; 
 "Shel ton's folly," 91; issues 
 circular as librarian, 96; is made 
 a real librarian and plans the 
 sale of library mugs, 101; con- 
 tributes to repairing clock, 
 136. 
 
C 158 ] 
 
 Shirlaw, Walter, name 
 first appears, 21; made honor- 
 ary member of the club for 
 loan of cartoons, 29; guest of 
 honor at library dinner, 103; 
 head by, on illuminated title- 
 page, 111. 
 
 Shurtleff, R. M., on com- 
 mittee that found Twelfth 
 Street house, 75; painted one 
 of the panels in the hall, 87. 
 
 Sketch Class, first meeting, 
 1; original members, 2; fre- 
 quenters, 3; ambition of its 
 members, 11; suspended after 
 second winter, 14; second home 
 of, 15. 
 
 Slavlnski, Josef, the Polish 
 pianist, reception to, 68. 
 
 Smith, De Cost, painted 
 one of the panels in the hall, 
 87. 
 
 Smith, F. Hopkinson, pro- 
 posed for membership, 21; his 
 attitude in the Water-Color 
 Society, 22; his original story 
 of Colonel Carter, 42; at Abbey 
 reception, 55; guest at the Tile 
 Club dinner 121. 
 
 Smith, H. P., announces a 
 dinner, 62; painted a panel in 
 the hall, 87. 
 
 Smith, James McGregor, 
 member of admissions commit- 
 tee, 141. 
 
 Snell, Henry B., president 
 of club, 1908-1910, 139; chair- 
 man of art committee, 141. 
 
 Sonn, A. H., gift of chairs 
 by, 137. 
 
 Soper, J. H. Gardner, mem- 
 ber of the entertainment com- 
 mittee, 141. 
 
 Southwick, Albert A., the 
 third librarian, 107; treasurer 
 of library committee, 141. 
 
 Starr, John E., gift of chairs 
 from, 137. 
 
 Starrett, Goldwtn, one of 
 the architects who planned the 
 alterations, 136. 
 
 Steele, of Hartford, speaker 
 at the Nickel-in-the-Slot din- 
 ner, 71. 
 
 Stivers, Captain, at the 
 Nickel-in-the-Slot dinner, 71. 
 
 Strahan, Tile Club name 
 the "Bone," 121. 
 
 Sturgis, Russell, letter 
 from, on word "Salmagundi," 
 19. 
 
 Symington, James, head 
 by, on illuminated title-page, 
 110. 
 
 Symons, Will, present at 
 the early meetings of Sketch 
 Class, 2. 
 
 Taber, I. W., name first ap- 
 pears, 21. 
 
 Taylor, C. Jay, of Puck, at 
 house warming, at 123 Fifth 
 Avenue, 53. 
 
 Taylor, George M., as 
 chairman of house committee, 
 established the office, 92. 
 
C 159 H 
 
 Thomas, E. A., arranges 
 Case C, illustrating lithog- 
 raphy, 47. 
 
 Thomas, Henry T., bronze 
 candelabra the gift of, 137. 
 
 Thompson, Joseph A., at 
 the Nickel-in-the-Slot dinner, 
 71; on committee that found 
 Twelfth Street house, 75; as 
 corresponding secretary rented 
 room from club, 79; issues cir- 
 cular for loan, 81. 
 
 Thtjlstrup, T. de, name 
 first appears, 21; "the soldier 
 draughtsman" at the house 
 warming at 123 Fifth Avenue, 
 53. 
 
 Tiffany, Louis C, a dinner 
 given to, 126. 
 
 Tile Club at Sarony's, 41; 
 dinner to, 120. 
 
 Timpson, Philip F., gift of 
 chairs from, 137. 
 
 Trask, John E. D., at dinner 
 to curators and directors, 127. 
 
 Truslow, Tile Club name 
 the "Boarder," 121. 
 
 Turner, C. Y., joined class 
 second winter, 8; meetings held 
 in studio of, 23; head of, on the 
 presidential pitcher, 119; presi- 
 dent of the club, 1889-1893, 
 139. 
 
 Tuttle, Franklin, early 
 contributor to the library, 
 98. 
 
 Tyler, James, painted panel 
 in hall, 87. 
 
 Ullman, Eugene, gift of 
 chairs from, 137. 
 
 Vance, Fred, original mem- 
 ber of the Sketch Class, 2; died 
 in the Soldier's Home at Bath, 
 N.Y., 23. 
 
 Van Laer, A. T., speaker at 
 the Nickel-in-the-Slot dinner, 
 71; did Dutch landscape on 
 tiled fireplace, 84; painted 
 panel in hall, 87; head on the 
 presidential pitcher, 119; presi- 
 dent of club, 1897-1898, 1899- 
 1900, 1905-1908, 139. 
 
 Vedder, Elihu, Tile Club 
 name the "Pagan," 121. 
 
 Vezin, Charles, buys first 
 choice of library mugs for one 
 hundred dollars, 108; gift of 
 chairs from, 137; president of 
 club, 1913-1914, 139. # 
 
 Vincent, H. A., member of 
 admissions committee, 141. 
 
 Volkmar, Charles, gives 
 lessons in etching, 34; arranges 
 Case B of etching tools, 47; 
 directs execution of Limoges 
 fireplace, 48; the potter of the 
 club, 84. 
 
 Von Gottschalck, O. H., at 
 the Nickel-in-the-Slot dinner, 
 71. 
 
 Walker, Charles, of the 
 Boston Art Club, 71. 
 
 Wallace, Frank, directed 
 improvements in club house, 94. 
 
C 160 ] 
 
 Waltman, H. M., panel by, 
 88. 
 
 Ward, " Ferd," who wrecked 
 the fortune of General Grant, 6. 
 
 Ward, Will, present at early 
 meetings of Sketch Class, 6. 
 
 Watts, John, a son of Mrs. 
 Sefton, 9. 
 
 Weir, J. Alden, painter- 
 guest of the club, 115; his Tile 
 Club name "Cadmium," 121. 
 
 Weldon, C. D., name first 
 appears, 21; draughtsman on 
 London Graphic, 29. 
 
 White, Dr., of the Berkeley 
 Lyceum, offers hall for meet- 
 ing-place of the club, 50. 
 
 White, Stanford, not an 
 artist, 22; his Tile Club name 
 the "Builder," 121. 
 
 Whitehorn, Mr., noted for 
 his gallantries, 8. 
 
 Wickware, Francis G., re- 
 cording secretary of the club, 
 141. 
 
 Wiggins, Carleton, presi- 
 dent of the club, 1911-1913, 
 139. 
 
 Wildhack, Robert J., "All 
 of which was described by," 130. 
 
 "Wild Oats," in Ann Street, 
 Shelton's first success on, 12. 
 
 Wilkes, Miss Annie, skirt 
 dancer and high kicker, at 
 Zorn reception, 68. • 
 
 Williams, Ballard, library 
 mug by, brings six hundred and 
 sixty-two dollars, 106; presi- 
 dent of the club, 1914-1917, 
 139. 
 
 Willing, Thomson, letter- 
 ing on tiled fireplace by, 85; 
 panel by, 88; decoration of Red 
 Room by, 94; on book-plate 
 committee, 103; designed title- 
 page for Costumes of the Nine- 
 teenth Century, 110. 
 
 Wolcott, H. M., sketch by, 
 23. 
 
 Yates Cullen, member of 
 admissions committee, 141. 
 
 Yeto, Genjiro, panel by, 
 "Winter," in Red Room, 93; 
 head by, on illuminated title- 
 page, 111. 
 
 Zabriskie, George A., two 
 crystal chandeliers the gift of, 
 137. 
 
 Zogbaum Rufus, name ap- 
 pears in early records, 21. 
 
 Zorn, Andres, reception 
 to, 68. 
 
Five hundred copies printed at The Riverside 
 Press, Cambridge, Massachusetts, in December, 
 1918. This is No. 
 
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&4~6H59 3 
 
GETTY CENTER LIBRARY 
 
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