Cuir A V- /\ anxa 88-B 27282 H iter\ c. Allied War Salon Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/alliedwarsalonexOOunse EDWIN H. BLASHFIELD Carry On Allied War Salon Introduction by A. E. GALLATIN The net profits of this exhibition will be given to the Art War Relief December 9 to 24, 1918 American Art Galleries Under the Management of American Art Association Madison Square, South, New York “If the Almighty ever made a mistake, it was when he created the German.”— Whistler. The design reproduced on the cover is from a plaque modeled for the Art War Relief by Mr. Paul Manship. This Exhibition is held under the auspices of The Division of Pictorial Publicity Charles Dana Gibson, Chairman F. D. Casey, Vice-Chairman Albert Eugene Gallatin, Chairman, Committee on Exhibitions OF THE Committee on Public Information George Creel, Chairman The Secretary of State The Secretary of War The Secretary of the Navy With the cooperation of Committee on Arts and Decoration, The Mayor j s Committee on National Defense and The American Federation of Arts Acknowledgment Acknowledgment is made to the painters, illustrators and sculptors who have so gener¬ ously loaned their creations to this exhibition. No group of men have shown a finer patriotic spirit and an eagerness to serve the country in her hour of need, or been of more service, than the artists. Since America’s entrance into the war they have presented to the authorities over fourteen thousand drawings, paintings and posters. Lithographs and drawings have very kindly been loaned by The British Government The Italian Government Mrs. Fiske Warren John T. Spaulding, Esq. Messrs. Frederick Keppel & Co. Messrs. Brown Robertson Co. Duncan Phillips, Esq. A. E. Gallatin, Esq. Committee on Arrangements Albert Eugene Gallatin, Esq., Chairman F. D. Casey, Esq. Charles Dana Gibson, Esq. Thomas E. Kirby, Esq. Du ncan Phillips, Esq. W. Frank Purdy, Esq. Augustus Vincent Tack, Esq. Patrons Hon. Robert Lansing The Secretary of State Hon. Newton D. Baker The Secretary of War Hon. Josephus Daniels The Secretary of the Navy Sir Henry Babington Smith, K.C.B., C.S.I., C.H. The Acting British High Commissioner Count V. Macchi di Cellere The Ambassador of Italy Reception Committee Herbert Adams, Esq. Mrs. Charles B. Alexander Paul W. Bartlett, Esq. Major-General J. Franklin Bell Mrs. Nicholas Murray Butler Mrs. Henry P. Davison Mrs. Chari.es Dana Gibson Mrs. E. H. Harriman Thomas Hastings, Esq. Hon. Myron T. Herrick Archer M. Huntington, Esq. Clarence H. Mackay, Esq. Henry MacDonald, Esq. Mrs. Vanderbilt Mrs. Cornelius Vanderbilt Eloyd Warren, Esq. Mrs. Harry Payne Whitney Allied War Salon Art and the War* b y A. E. Gallatin I The Great War has been waged to a large extent with explo¬ sives and machinery—very different from the individual combat which the soldier of ancient Greece engaged in when he went into battle. It is a far cry from the athletic figures of Greek warriors on the frieze of the Parthenon to Nevin- son’s painting which shows three men working a mitrailleuse down in a trench, barbed wire silhouetted against the sky. These three men are a part of their machine. The hideousness and horror of modern warfare is also far removed from the pageantry and splendor of warfare in the Middle Ages—it is vastly different also from the comparatively picturesque war¬ fare of the Napoleonic epoch. War pictures of to-day have no roots in the past; the pictorial recorder of modern warfare has had no sign-posts to guide him. One recalls the decorative and gorgeous battle pictures of Paolo Uccello and Raphael’s “Battle of Constantine.” Leonardo da Vinci made many designs for fortifications and various implements of war; those familiar with Ravaisson- Mollien’s folio volumes of facsimiles of Leonardo’s manu¬ scripts will remember that he even made a design for an aeroplane. Leonardo always maintained that he had attained greater excellence as an engineer than as a painter or a sculptor. Diirer was another artist greatly interested in mili- *Copyright, 1018 . by A. E. Gallatin. [ 1 ] tary matters; a work by him printed in Nuremberg in 1527 contains many engravings depicting fortifications, cannon and various military obj ects which he drew on the wood. The paintings of Gerard, Gros and Charlet are simply glorifications of Napoleon; as transcripts of actual war¬ fare they are almost valueless. The horrors of war were truthfully set down by Goya and by Callot. The Russian Vereschtschagin also completely stripped warfare of its glamor. Afterwards in France came the paintings of the Franco-Prussian war by Detaille and Neuville. Of the studio-painted, and as regards detail, miniature-like, paint¬ ings of Meissonier, one agrees with Courbet that everything is of iron except the cuirasses . 1 In the olden times, the sphere of action in which the artist, when his country was at war, could make use of his talents was extremely limited; to-day the situation is vastly different. As one writer has said: “Art never has had a more inspiring opportunity, and artists are gaining constantly in apprecia¬ tion of the service possible for them to render.” Another has written: “Never since the Middle Ages, when the church taught its lessons by means of pictures to people who could not read the written word, has art been called upon to serve in so many ways.” II American painters and illustrators, as well as those practicing the allied arts, it is gratifying to know, came forward with an eagerness to serve the country that was not excelled by any other group. The services that they were able to render were manifold, as I shall endeavor to suggest. 1 Vide P. G. Konody’s “Modern War Paintings by C. R. W. Nevinson” (London: Grant Richards). [ 2 ] For Humanity In the first place, many artists are needed for the designing of the innumerable posters required by the Government for Liberty Loan, War Savings Stamp, Red Cross and other drives, besides at first for recruiting purposes and afterwards to urge the conservation of food and coal, to speed up ship¬ building and for many other uses. If never before has the poster artist enjoyed such a golden opportunity, this is equally true of the cartoonist. He wields a most powerf ul weapon. In his hand, it can be truly said, as of the author, that “the pen is mightier than the sword.” Still another way in which the artist may employ his talents is in the painting of landscape targets, for use in the artillery schools. Other artists, like Joseph Pennell, have recorded America’s industrial activities, and eight illustrators are now in France making official records of all the various activities of our troops in France. Architects have been working on government housing and industrial problems, including the designing of portable houses for overseas service, this work being executed through the Bureau of Industrial Housing and Transportation of the Department of Labor. The camouflage unit of the Corps of Engineers has at¬ tracted many artists and sculptors, and a number of artists have also taken up naval camouflage. There are several other fields open to the sculptor, as is noted on one of the following pages. The services of artists, sculptors and architects, as well as those engaged in the kindred arts, are in constant demand by committees appointed to arrange for special decorations. The decorations on Fifth Avenue for the Fourth Liberty Loan were extremely effective and beautiful. The hundred [3] or more floats and other decorative effects used in the 1918 Independence Day Pageant-Parade called into service the special knowledge possessed by all professions practicing the arts and crafts. Special decorations are frequently employed in New York on the occasion of visits from foreign missions; those erected in honor of Viviani, Joffre and Balfour were very handsome. In England at several of the Red Cross sales blank can¬ vases have been put up at auction, the contributions of famous portrait painters, who undertake to paint any por¬ trait on their canvas requested by the highest bidder. In April, 1918, Sargent contributed a canvas of this description, he having already early in the war sent in one which was purchased by the late Sir Hugh Lane, the well-known col¬ lector who perished on the Lusitania. On this canvas was painted one of the two famous portraits of President Wilson, Sir Hugh Lane paying £10,000 for the picture and present¬ ing it to the National Gallery of Dublin.' In Philadelphia during the Fourth Liberty Loan campaign many well-known artists painted or drew the portraits of people who subscribed for a large number of bonds. Robert W. Chanler has painted a mural decoration, “The Landing of Columbus,” for the Naval Training Station at Pelham Bay, New York, and another for General Pershing’s headquarters. Robert Reid painted a splendid poster for the navy, which was shown in Chicago. 2 1 Vide A. E. Gallatin’s “American Ar¬ tists and the War,” Valentine’s Man¬ ual, 1918 (New York: H. C. Brown). A. E. Gallatin’s “Suggestions for Ar¬ tists Desiring to Apply Their Knowl¬ edge to War Work” (New York: The Mayor’s Committee on National De¬ fense). Duncan Phillips’ “Art and the War,” (American Magazine of Art, June, 1918). [ 4 ] G. SPENCER PRYSE Belgium, 1914 Ill In the Spring of 1917 a group of American illustrators went to Washington and offered their services gratis to the Gov¬ ernment. At that time purely commercial artists, as well as firms of lithographers, were getting the orders for the innu¬ merable posters required by the Government. At the request of Charles Dana Gibson and his associates, George Creel, Chairman of the Committee on Public Information, estab¬ lished a Division of Pictorial Publicity. Owing to the efforts of this Division, our posters, which in the beginning of the war were for the most part very crude and inartistic, and consequently made but a small appeal, have steadily improved. Numerous splendid posters are now being designed by the artists cooperating with the Division of Pictorial Publicity. These artists receive no compensation. 3 The function of the Division of Pictorial Publicity consists in supplying the various departments, bureaus and commis¬ sions of the United States Government with every form of pictorial publicity that they desire. Membership in it is un¬ limited; any individual who expresses a desire to carry out such pictorial work as is required by the Government auto¬ matically becomes a member. The associate chairmen and executive committee meet every Thursday afternoon at the headquarters of the Division, 200 Fifth Avenue. After these meetings a dinner is held at the Salmagundi Club, which all members are invited to attend. These dinners are addressed by various government and other officials, who inform the artists regarding the Government’s requirements. The Divi¬ sion to date has supplied forty-eight various organizations with posters or other illustrative matter. 3 Vide “Our Fighting Posters,” by “The Story of the War Posters,” Julian Street ( McClure’s Magazine, by H. A. McDonald (Sea Power, Au- July, 1918). gust, 1918). [ 5 ] Through the Division there have been issued many excel¬ lent posters, including designs by Henry Raleigh, Albert Sterner, Wallace Morgan, W. T. Benda, Adolph Treidler, Charles Livingston Bull, E. H. Blashfield, F. G. Cooper, Joseph Pennell, C. B. Falls, Henry Reuterdahl and Edward Penfield. The posters designed for the Shipping Board have been particularly good, especially those by George Wright, Walter Taylor and Jonas Lie. It is interesting to note that Brangwyn and Raemaekers have made posters for the American navy. The Division of Pictorial Publicity chose eight illustrators to depict our activities in France. These men were commis¬ sioned cajitains in the Engineers’ Reserve Corps of the army, and their drawings, which are now arriving in this country, were shown in the Corcoran Gallery in Washington the second two weeks in November, 1918, before being put on view in the present Allied War Salon. The artists who made them are Captains Ernest Peixotto, William J. Ayl- ward, Harry Townsend, Wallace Morgan, George Harding, Walter J. Duncan, Harvey Dunn and J. Andre Smith. These sketches possess great interest and record, as photo¬ graphs cannot, the spirit of our men. 4 4 Vide “Making Posters Fight,” by Montross J. Moses (The Bookman, July, 1918). [ 6 ] JOSEPH PENNELL Ready to Start UNITED STATES GOVERNMENT COMMITTEE ON PUBLIC INFORMATION DIVISION OF PICTORIAL PUBLICITY Charles Dana Gibson, Chairman F. D. Casey, Vice-Chairman and Secretary George Creel, Chairman The Secretary of State associate Herbert Adams Paul W. Bartlett E. H. Blashfield Ralph Clarkson A. E. Gallatin Cass Gilbert Oliver D. Grover EXECUTIVE F. G. Cooper F. E. Dayton Israel Doskow C. B. Falls Ray Greenleaf N. J. Pousette-Dart W. A. Rogers The Secretary of War The Secretary of the Navy chairmen Francis Jones Arthur F. Matthews L. C. Mullgardt Joseph Pennell Edmond Tarbell Douglas Volk J. Alden Weir COMMITTEE J. E. Sheridan Frank J. Sheridan, Jr. H. Seott Train H. T. Webster H. D. Welsh Walter Whitehead J. T. Willing IV The cartoonist has been an important agency for moulding public opinion; in America, W. A. Rogers and Charles Dana Gibson have played an important part in putting the real issue of the war before the public in a striking and telling manner. “The cartoons of Louis Raemaekers,” Theodore Roosevelt has written in an introduction to a volume of his drawings, “constitute the most powerful of the honorable contributions made by neutrals to the cause of civilization in the world war.” Another has written of him as follows: “He, more than any other individual, has made intensely clear to the people the [ 7 ] single issue upon which the war is joined. More than car¬ toonist, he is teacher and preacher, with a vision, faith, and intensity of a St. Francis, a Luther, or a Joan of Arc. The pencil in his hands becomes an avenging sword, because by it millions of people have been aroused to a clear-cut realization of the fact that the issue of the war is no less than Slavery and Autocracy versus Freedom and Democracy. .... No oration, no literature, no art, has brought the real meaning of the war home so convincingly as these cartoons.” The lithographs and drawings of Steinlen and Forain are valuable as documents, besides being works of art of a very high order. No one can resist the human appeal in Steinlen’s drawings; Forain is the greatest cartoonist, if we judge his drawings by aesthetic standards, since Daumier, from whom his art is descended. It is to such pictures as these and the cartoons of Raemaekers that the historian of the future, overwhelmed with conflicting material, will turn for guidance. The best history of the Napoleonic wars are the contem¬ porary broadsides. “International Cartoons of the War,” selected, with an introduction by H. Pearl Adam, is a very interesting volume of reproductions (New York: E. P. Dutton & Co.). Car¬ toons from English, New Zealand, Italian, Argentine, Amer¬ ican, Japanese, Dutch, Russian, Polish, French and German papers are included. Y Landscape, or designation targets, are used for class-room instruction. These are large landscapes depicting typical French rural scenery and are used in our military schools to train the embryo artillery officer to locate quickly a given [ 8 .] American Squadron in British Waters point in a landscape. The most satisfactory ones are painted in clear and bright colors. The sine qua non is correct per¬ spective. The sizes vary from three by six feet to five by twelve feet. These landscapes are used to visualize the country in which the men are to fight, for panoramic sketch¬ ing, for working out problems of offense and defense, for target designation according to the clock-face method in machine gun, artillery and rifle practice, and for other purposes. Landscape targets have long been used by the armies of Europe and in the training of the recruit they are of the utmost value. 5 VI The camouflage unit forms a part of the Corps of Engi¬ neers (40th). It is a military organization composed of artists, architects, carpenters, ornamental iron workers, tin¬ smiths, plasterers, photographers, stage carpenters and prop¬ erty men. The work in general deals with the concealment of gun emplacements, trenches and sheds of military value; the screening of roads and the manufacture of materials for this purpose; the painting of roofs and large areas of canvas for the covering of ammunition storage and the like; the making of various devices and clothing for the concealment of observers and snipers and occasionally the painting of a scenic drop. Modern camouflage is based upon the studies of Abbott Thayer and Louis Fuertes, two painters, as well as those of Dr. Chapman of the American Museum of Natural History, who have made a study of bird life and protective coloration. ‘ Vide “The Value of Landscape Targets,” by Captain J. R. Cornelius ( Scrib¬ ner’s Magazine, October, 1918). [ 9 ] Some familiar examples of nature’s camouflage are the frog, spotted like a tree; the polar bear, with a coat of white fur, which blends with his surroundings of ice and snow, and the tiger, striped in such a way as to make him invisible in a bamboo forest. Marine camouflage, owing to the development of the sub¬ marine, has become an important science. In creating her famous fleet of dummy battleships, England’s naval camou- fleurs certainly showed great ingenuity. In this country marine camouflage is done under the direction of the Navy Department. The work is executed by the United States Shipping Board, Emergency Fleet Corporation’s Depart¬ ment of Camouflage. In each district is stationed a district camoufleur, with a corps of trained assistants. “Baffle” paint¬ ing has taken the place of attempts to render vessels invisi¬ ble. This distorts the outlines of the ship and misleads the submarine as to the craft’s size, character, and her course. 6 VII As has already been noted, many sculptors have joined the camouflage unit of the Engineer Corps. Others are design¬ ing memorials. Paul Manship has modeled a Jeanne d’Arc medal and others, which are sold for charities, entitled “Kul- tur,” “French Hero’s Fund” and “Art War Relief.” Man- ship in 1918 also cooperated on the new Congressional Medal of Honor for the navy and on the Distinguished Service Medal and Cross for the navy. Earlier designs were made bv Captain Andre Smith and Captain Aymar Embury, 2nd, being modeled by Private Gaetano Cecere. 6 V'ide Captain Aymar Embury, 2nd’s Captain J. Andre Smith’s “Notes “Nature’s Camouflage and Man’s,” with on Camouflage,” illustrated ( Architec- colored plates by Charles Livingston tnral Record, November, 1917). Hull {New Country Life, June, 1918). [ io] PAUL DOUGHERTY Submarine Tragedy Some very fine portraits of military and naval officers have also been made by our sculptors, as well as other works con¬ nected in some way with the war. Mahonri Young, Malvina Hoffman, Theodore Spicer-Simpson, Hermon A. McNeil, Isador Konti and Herbert Adams are among these sculptors. An English artist, Captain Derwent Wood, has con¬ structed masks to cover facial injuries. Professor Henry Tonks has also worked with the plastic surgeon. A Boston sculptress, Mrs. Anna Coleman Ladd, reading reports of Captain Wood’s studies, went to Paris, where she and her assistants are now hard at work making new faces for soldiers whose faces have been partially shot away. 7 VIII America’s industrial activities and military and naval prep¬ arations have been faithfully recorded in a series of about one hundred large lithographs by Joseph Pennell—a succes¬ sion of views in munition works, shipyards, navy yards, coal mines and factories. A number of these lithographs have been reproduced in book form. 8 Samuel J. Woolf spent some time with the American armies in France, at the front, and has brought back with him many sketches from which he has made paintings. Among his drawings are portraits of several of the American generals. George Bellows has executed a set of lithographs of Ger¬ man atrocities in Belgium which are very dramatic and, since they are based on statements contained in Lord Bryce’s Re¬ port, are convincing and unforgetable indictments of the 7 Vide “New Faces for Mutilated Soldiers,” by Grace S. Harper {Red Cross Magazine, November, 1918). * Vide Joseph Pennell’s “Pictures of War Work in America” (Philadelphia: J. B. I.ippincott Co.). [ii] Hun. From them he has painted several pictures, also of great force; that of Edith Cavell being taken from her cell to be murdered is a very fine composition, almost suggestive of Rembrandt in its play of light and shade. Childe Hassam, both in paintings and in lithographs, has given us many beautiful glimpses of Fifth Avenue gaily decorated with flags; Lieutenant Henry Reuterdahl, some colorful naval pictures; Hugh Ferris, Herbert Pullinger, John C. Johansen and Jonas Lie, views of shipyards. Edwin H. Blashfield’s beautifully conceived and executed canvas entitled “Carry On,” known also through a lithograph, has been purchased by the Metropolitan Museum of Art. George Luks has painted some striking pictures of incidents in this country connected with the war. Most of the leading sculptors have also been nobly inspired by America’s part in the war. This merely indicates what the American artists have been doing, and in what a patriotic manner the war has reacted upon their art. IX Under the direction of the Liberty Loan Committee, New York during October, 1918, had the opportunity of viewing one of the greatest and most inspiring exhibitions of pictures ever held in the Metropolis. Fifth Avenue, the fairest avenue in the world, was the gallery, about a hundred windows along the thoroughfare being the settings for the paintings. As one observer wrote: “In the windows of the shops the pic¬ tures and statues were hard put to it to hold their own in interest against the bannered beauty of the street itself, but they did.” 9 9 Vide Elisabeth L. Cary’s “Avenue of the Allies” (New York Times, Oct. 6,1918). [ 12 ] CHILDE HASSAM Many of the foremost artists in the country painted these patriotic pictures, including Gari Melchers, Edwin Blash- field, Augustus Vincent Tack, F. W. Benson, George Bel¬ lows, Jonas Lie, Gifford Beal, George Luks and Paul Dougherty, to mention but a very few. Herbert Adams and Mahonri Young were among the sculptors. To quote from the preliminary announcement of the exhi¬ bition: “In the early Greek days, artists showed their works in public. We read the stories of competition decided by popular vote, of the birds who were deceived and of the popu¬ lace who were deceived by the painted veil of Apelles. In the later Italian days paintings were exhibited on the Rialto, where the people became familiar with them, grew to know and understand them. Something of this is possible here. Fifth Avenue is our Rialto.” An interesting feature of this display on the “Avenue of the Allies” was that each day an artist of prominence painted a large picture in honor of one of our numerous allies in front of the Public Library. Each day of the Drive, one of the flags of the allies was consecrated on the Altar of Lib¬ erty, a beautiful stiucture designed by Thomas Hastings and erected in Madison Square. X The Committee on Arts and Decoration of the Mayor’s Com¬ mittee on National Defense for the City of New York was organized for the purpose of developing the field of art in connection with the war, where the services of artists, archi¬ tects, sculptors and those practising the allied arts are em¬ ployed. A Bureau of Information has been established, in the Hall [13] Many of the foremost artists in the country painted these patriotic pictures, including Gari Melchers, Edwin Slash- field, Augustus Vincent Tack, F. W. Benson, George Bel¬ lows, Jonas Lie, Gifford Beal, George Luks and Paul Dougherty, to mention but a very few. Herbert Adams and Mahonri Young were among the sculptors. To quote from the preliminary announcement of the exhi¬ bition: “In the early Greek days, artists showed their works in public. We read the stories of competition decided by popular vote, of the birds who were deceived and of the popu¬ lace who were deceived by the painted veil of Apelles. In the later Italian days paintings were exhibited on the Rialto, where the people became familiar with them, grew to know and understand them. Something of this is possible here. Fifth Avenue is our Rialto.” An interesting feature of this display on the “Avenue of the Allies” was that each day an artist of prominence painted a large picture in honor of one of our numerous allies in front of the Public Library. Each day of the Drive, one of the flags of the allies was consecrated on the Altar of Lib¬ erty, a beautiful structure designed by Thomas Hastings and erected in Madison Square. X The Committee on Arts and Decoration of the Mayor’s Com¬ mittee on National Defense for the City of New York was organized for the purpose of developing the field of art in connection with the war, where the services of artists, archi¬ tects, sculptors and those practising the allied arts are em¬ ployed. A Bureau of Information has been established, in the Hall [13] of Records, to advise and direct those seeking to apply their talents to work connected with the war. Here may be ob¬ tained accurate and official information concerning the de¬ signing of pictorial placards for government purposes, car¬ toons, landscape targets, pictorial records of America’s war activities, military and naval camouflage, decorations for Liberty Loan and other purposes, as well as where sculptors and architects are needed. A leaflet containing suggestions and information has been prepared, for gratuitous distri¬ bution. A Division of Exhibitions has been formed to further the cause of pictorial propaganda. The British government lithographs have thrice been shown under the auspices of this committee. A collection of 125 colored facsimiles of cartoons by Raemaekers is now being shown in the various canton¬ ments, with the cooperation of the American Federation of Arts, which has routed many ambulant exhibitions of war pictures. The Committee on Arts and Decoration assisted in the artistic censoring of the historic floats, banners and costumes appearing in the great Independence Day Pageant-Parade held in New York in 1918. The Advisory Art Committee of the Liberty Loan Committee has asked for the closest co¬ operation between the two committees. These are but two examples of the wide and useful scope of this committee in coordinating art work in so far as it affects the community. GEORGE BELLOWS Murder of Edith Cavell THE MAYOR S COMMITTEE ON NATIONAL DEFENSE COMMITTEE ON ARTS AND DECORATION Albert Eugene Gallatin, Chairman Lloyd Warren, Vice-Chairman EXECUTIVE COMMITTEE Herbert Adams Paul W. Bartlett Nicholas Murray Butler Robert W. de Forest GENERAL COMMITTEE Robert Abbe John Quincy Adams Charles B. Alexander S. Reading Bertron Bryson Burroughs F. I). Casey William A. Clark Robert W. Chanler Francis W. Crowninshield R. Fulton Cutting Guy Pene du Bois Charles M. Gay William J. Glackens Jules Guerin Childe Hassam William Warner Hoppin Ernest Iselin Charles Dana Gibson Thomas Hastings Archer M. Huntington Clarence H. Mackav Arthur Curtiss James Roland F. Knoedler George F. Kunz Ernest Lawson Hermon A. MacNeil H. Van Buren Magonigle Paul Manship Howard Mansfield W. H. de B. Nelson Duncan Phillips William Jay Schieffelin Arthur H. Scribner Henry Renwick Sedgwick John Sloane Charles H. Sherrill Joseph E. Stevens Augustus V. Tack XI The Art War Relief was organized in December, 1917, to bring together the art organizations and artists. Their head¬ quarters are at 661 Fifth Avenue. Mrs. Ripley Hitchcock is the Chairman and Mrs. John Henry Hammond is the Vice-Chairman. The Art War Relief organized auxiliary 282 of the New York County Chapter of the American Red Cross. The Painters’ Committee of the Art War Relief, [ 15 ] with the cooperation of the Ver Meer Studios and the War Service Committee of the Salmagundi Club has supplied 299 landscape targets to twenty-seven cantonments and three National Guard Armories. The Art War Relief is also in¬ terested in many other activities, including the distribution of clothing to refugees, the making of hospital pillows, ob¬ taining posters, and war service classes to train aides to teach disabled soldiers and sailors various handicrafts. XII The French, too, as one might have expected, have produced a very large number of pictorial records of the war. Ex¬ tremely interesting are the paintings of actual engagements in aerial combat by Lieutenant Henri Farre. These paint¬ ings, which have been shown in many parts of the United States, besides being valuable as records, because technically accurate, are as well most graphic and very beautifully painted: they are true works of art. The lithographs of Steinlen and Forain are extremely fine. These two men, France’s greatest living draughtsmen, have made a long series of splendid drawings, the former remark¬ able for their beauty of drawing, tenderness and sympathy, the latter for their telling strength and the extraordinary economy of means displayed in their draughtsmanship. The drawings by Francois Flameng, Charles Huard and Georges Scott, all official artists, together with drawings which have appeared in 1/Illustration and the Steinlens and Forains form a most valuable history of the war. Lucien Jonas’ litho¬ graphs entitled “The Heroic Soul of France,” “are distin¬ guished by an ardor of patriotism so passionate and intense that we are carried out of ourselves and privileged to share [16] FORAIN o 4'^V’. - <£&■> J.- ■: :■ ' ■ - • • v • the artist’s glow of glory and emotion.” 10 The poster artists of Franee have also more than risen to the occasion and given us innumerable magnificent designs. Could any poster be more stirring than Abel Faivre’s “On les aura!”? Such posters and lithographs as these, it has been truly said, “are an intimate expression of the greatest convulsion in the his¬ tory of civilization.” A collection of two thousand war paintings and drawings by French soldier-artists, the largest collection ever brought together, are now being shown throughout the country under the auspices of the French Government and the Committee on Public Information. “All of these records,” the catalogue of the exhibition states, “have been lived and come from eye¬ witnesses of the greatest drama of all time.To pos¬ terity .... they will prove treasures of incalculable value.” XIII The British Government has sent to this country a set of sixty-six lithographs by many of her most gifted artists de¬ picting Britain’s efforts and ideals in the Great War. This exhibition is being shown throughout the country, in several sets, as propaganda. Eric Kennington has a series of six drawings entitled “Making Soldiers,” Frank Brangwyn six entitled “Making Sailors,” George Clausen six entitled “Making Guns,” Muirhead Bone six entitled “Building Ships,” C. R. W. Nevinson six entitled “Making Aircraft,” Charles Pears six entitled “Transport by Sea,” A. S. Hart- rick six entitled “Women’s Work,” William Rothenstein six entitled “Work on the Land” and Claude Shepperson six entitled “Tending the Wounded.” These are all in black and 10 Vide Duncan Phillips’ “The Heroic Lithographs” (American Magazine of Soul of France—Lucien Jonas’ War Art, October, 1918). [17] white. “Britain’s Ideals” have been depicted by Ernest Jack- son, Charles Ricketts, Frank Brangwyn, William Rothen- stein, William Nicholson, Maurice Grieffenhagen, George Clausen, Edmund Dulac, G. Mora, Augustus John, Edward J. Sullivan and Charles Shannon. These lithographs, with the exception of that by John, are in color. Such subjects have been chosen as “The Triumph of Democracy,” “The Freedom of the Seas,” “Italia Redenta,” “The Restoration of Alsace-Lorraine to France,” “Poland, a Nation” and “The Re-birth of the Arts.” These lithographs are all re¬ markably interesting in subject matter and the great ma¬ jority of them are splendidly drawn. Those by Bone and Nevinson are particularly fine, and excellent, too, are the drawings of Rothenstein, Shannon and Dulac. Judged both as pictorial records and from the aesthetic side, no finer drawings have been produced than Muirhead Bone’s many sketches and studies made on the Western front. These drawings have been superbly reproduced and issued in a series of parts, many of them tinted as in the originals. They are authoritative and faithful records, made by one of the greatest draughtsmen of recent times. General Haig has said of them: “They illustrate admirably the daily life of the troops under my command.” Bone has also made some splendid drawings entitled “The Work of the Grand Fleet.” An interesting record, also, is Francis Dodd’s album of portraits of the admirals of the British Navy, pencil draw¬ ings touched with water-color, of great excellence . 11 The British Government has sent a number of other artists to the front to make pictorial records, including William 11 Vide “The Western Front—Draw- (New York: George H. Doran Co.) ings by Muirhead Bone” (New York: and “British Artists at the Front,” in Doubleday, Page & Co.); “Admirals of four parts (London: George Newnes, the British Navy,” by Francis Dodd Ltd.). [ 18 ] MUIRHEAD BONE A British Shipyard Scene from a Big Crane Orpen, Paul Nash, John Lavery and John S. Sargent. Ultimately these paintings are to go into the Imperial War Museum which is now being planned for London. Many of them are to be shown at the Corcoran Gallery in Washington during January, 1919; afterwards they are to be brought to New York. New drawings by Bone, Dodd, a painting by Augustus John, dry-points by McBey and lithographs by Pr yse will also be included in this exhibition. Paintings and drawings by Nevinson, Nash, Lavery and Kennington have been beautifully reproduced in color and issued in album form. Nevinson, who in turn has come under the influence of Impressionism, Cezanne, and Futurism, although this influence is not now very pronounced, is probably the greatest artist the war has produced. His is a great art, horn of the war, and an art that is able to tell you exactly what war is. A special number of the London Studio is to be devoted to the work of distinguished British artists who are serving at the front. It will be very fully illustrated. The lithographs of G. Spencer Pryse are also among the very fine things produced during the war, as are those by Frank Brangwyn, although, unlike Nevinson, both artists had fully developed their art before the war. The Pryse lithographs possess a lyrical quality and a greatness of con¬ ception which places them on a high plane. In lightly touching upon the war pictures which have been made in England, one must certainly not neglect to mention the humorous and very racy sketches made at the front by Captain Bruce Bairnsfather. “Old Bill,” “Alf” and “Bert” are great favorites among the soldiers at the front, as well as among the people at home. XIV Many of the most beautiful and artistic posters produced during the war have come from Italy, and just as France has had Lieutenant Farre to give us a wonderful record of the aerial side of modern warfare, and Great Britain Nevin- son, so Italy has had Gianni Caproni. ‘‘Versatility has always been and still appears to be a characteristic of all Italian geniuses. Leonardo was the supreme example of it. Michael Angelo was almost his equal in versatility. The two great geniuses of contemporary Italy are nobly living up to the standards set for them by the great fifteenth and sixteenth century Italians. Gabriele D’Annun¬ zio, the premier poet of Europe, is an aviator of the first rank. Gianni Caproni, the world’s master spirit of the air, is—by the opposite token—an etcher and mezzotinter of the first order. Though only thirty-two years of age, Caproni has invented, designed and constructed nineteen separate and successful types of aeroplane, the largest of which has reached the stupendous force of 2,000 horsepower. Notwith¬ standing his close application to his world-transforming task, Caproni has also remained faithful to the graphic arts.” 12 12 Vide “Caproni, Etcher of his Creations” (Vanity Fair, August, 1918). [ 20 ] STEINLEN The Return Catalogue United States War Drawings Made by the Official Artists of the United States Army By Captain George Harding 1. Behind Montmirail an American division passed a French divi¬ sion, en route to reserve posi¬ tions, July 10th, and found the woods between Montmirail and Chateau-Thierry filled with American troops of the 30th and 28th divisions. 2. Through a shell-hole at Nesles; Chateau-Thierry Sector. 3. Between shells at Chateau- Thierry. 4. A dispatch motorcycle, near Vienne le Chateau; Ste. Mene- hould Sector. 5. Maj. R. M. Smith, Ballois Farm, July 11, 1918; near Nesee. 6. Morning mess at Beaumont; Toul Sector. 7. American wounded making their way to the First-Aid station in a village on the Marne. 8. American troops entering a vil¬ lage in pursuit of the enemy during the advance across the Marne, July 13, 1918. 9. American artillery and machine guns of 3d Division passing through a village on the Marne, afternoon, July 24, 1918. The road was filled with troops and transport for days. 10. Montmirail on the Chateau- Thierry road. Refugees pass¬ ing American troops going to the front. 11. American ration train head¬ quarters in a farm yard; vicin¬ ity Chateau-Thierry. 12. An American-French conference in a wine cellar; Chateau- Thierry. By Captain J. Andre Smith 13. f ‘The Church at Reherrey.” 14. The hospital at Savenay; this shows the back of the building, which was originally a school- house. 15. Regimental headquarters, near Belleau Woods, located in the farm house known as “Maison Blanche.” .16. A motor transport train con¬ cealed or camouflaged with tree branches to prevent discovery by enemy planes. 17. Harlequin freighters at St. Nazaire. 18. A regiment stops for mess at Pagny-sur-Meuse. 19. A square in Neufmaisons. 20. In Belleau Woods; showing the thickness of the tree growth and the nature of the ground over which our men fought. 21. Building barges at St. Nazaire. In the background are the buildings of the American loco¬ motive shops and in the distance and to the right are the cranes on the St. Nazaire Basin. 22. An advance dressing station on the trail to Belleau woods. 23. Langres. 24. On the deck of a freighter at St. Nazaire. 25. The saddler’s room in the mon¬ astery at Rangeval. [ 23 ] 26. Nantes; a river view. 27. The river front at Saumur; a view of the city showing the Chateau. 28. Reherrey and the road to Bac¬ carat; a typical example of a billet village with its low houses set back from the road and the scattered confusion of wagons and mules. 29. The Valley of the Marne. It was not many miles above this point that the Germans were forced back in the second Bat¬ tle of the Marne. 30. A shipyard at St. Nazaire. 31. “The House with a Shell-Hole’’ at Badonviller. The power of destruction of a single shell is illustrated by this house; the entire front wall from roof to cellar had been torn out by the force of one blow. 32. Inside the church at Badon¬ viller. 33. Badonviller. This drawing shows a typical example of a home that has been smashed in and is held from toppling into the street by a number of wooden props. 34. Motor trucks at Langres. 35. Scene at Saumur. 36. Champ-de-Mars, Chaumont. 37. Aviation field near Toul. 38. Constructing the great wharves at Montoir, for the unloading of freight vessels in connection with the huge Montoir storage warehouses. 39. Wagons and tents at Menil-la- Tour. 40. The plains at Is-sur-Tille. 41. A field hospital on the road to Chateau-Thierry. 42. Regimental headquarters near a group of farm buildings at Grand Ballois. 43. Under the trees at Andilly. 44. The trail to Belleau Woods. 45. Assembling locomotives at St. Nazaire. 46. A billet village on the Marne. 47. Looking down into Chateau- Thierry; the Germans occupied the part of the town beyond the river (marked by the line of high buildings) and the hills shown in the distance. 48. On the wharves at St. Nazaire. 49. In the basin of St. Nazaire. 50. In a shop at St. Nazaire. The guns are French guns being re¬ paired for American use. 51. A Y.M. C.A. tent at Is-sur- Tille. 52. In the village of Andilly, near Menil-la-Tour. 53. An encampment in the wood. 54. Hustling freight at St. Nazaire. 55. In the salvage depot at St. Pierre. 56. A view from the terrace at Boucq. 57. A French town. 58. Reherrey; the army cook. 59. Vacqueville, a village behind the lines. 60. Building the hospitals at Ba- zailles, showing an extension of the hospital; the workmen shown here are Chinese. 61. Reherrey. 62. A locomotive shop at St. Na¬ zaire. 63. The railhead dump at Menil- la-Tour. 64. Unloading freight at St. Na¬ zaire. 65. American graves at Menil-la- Tour. 66. The dry-dock at St. Nazaire. 67. A view of general headquarters and Chaumont. [ 24 ] (Q Committee on Public Information GEORGE HARDING Chateau-Thierry 68. A kitchen at Andilly. 69. A barrack street at Is-sur- Tille. 70. Merviller. But by the use of overhead camouflage screening, one strip of which is here shown, the traffic along this road is concealed. 71. At Menil-la-Tour. 72. Aero squadrons near Toul. 73. A street in Sanzey. 74. A roll-call after the fight; a camp on the road to Belleau Woods. 75. A street corner at Badonviller. 76. A billet at Rangeval, in the hay loft of a stable. 77. Refrigerating plant at Gievres. 78. Ruined houses at Dieulourd. 79. At Andilly. 80. A billet at Pexonne. 81. At the camouflage factory in Dij on. 82. A blacksmith shop at Boucq. 83. A cell in the monastery at Rangeval. 84. Artillery position near Pexonne. 85. The road to headquarters, Boucq. 86. An old O. P. at Martincourt. 87. A view of Neufchateau. 88. The entrance to a dugout at Neufmaisons. 89. A street in Baccarat. 90. The stable court at Boucq. 91. Building operations at Is-sur- Tille. 92. A road at the front. 93. A corner house at Badonviller. By Captain Harry E. Townsend 94. The hurry call; the night of May 30, 1918, in the Toul Sector. 95. View from a ruined garden in Vaux. 96. Viels Maison, near Chateau- Thierry; a typical scene in any French town in the U. S. Army zone. 97. Vaux; a shapeless mass of ma¬ sonry. 98. Salvage; clearing up the fields behind the lines. 99. Left by the Hun; a 152M mortar. 100. Northwest of Chateau-Thierry; the road to the front. 101. A quiet sector in Lorraine, op¬ posite Domevre. 102. Vaux. July 23, 1918. 103. Hill 204. July 23, 1918. 104. Refugees from Chateau-Thierry section. 105. A roadside repair station, near Chateau-Thierry. 106. A forced landing near Neuf- chateau. (A Breguet reconnais¬ sance plane.) 107. Officers’ mess, near Chateau- Thierry. 108. A roadside Y. M. C. A. can¬ teen, northwest of Chateau- Thierry. 109. A French soldier. 110. An American soldier. 111. An American aviator in his “Teddy Bear’’ costume. By Captain TV. J. Tduncan 112. Soldiers’ billet in a village in the neighborhood of Chateau- Thierry. 113. A battery of French 75’s shell¬ ing the Germans on the ridge to the left of Chateau-Thierry. 114. American soldiers quartered in the loft of an old barn on the outskirts of Chateau-Thierry. The sword hanging on the wall is a souvenir picked up by one of the men. [ 25 ] 115. View of Chateau, June 7, 1918; the Germans shelling the town, where several fires are burning. 116. American officers’ mess in the cellar of a house in Chateau- Thierry, June 7, 1918. The box on the table is a telephone. 117. German prisoners under guard on their way to work, Neuf- chateau. 118. French auto-trucks and ambu¬ lances parked in the Place Car¬ riers, Neufchateau, awaiting a call from the front. 119. The church at Fossoy, on the German line of retreat. 120. Blacksmith shop and wagon re¬ pair shed on the road to Boucq. The dark figure in the center sketching is Louis Raemaekers, the famous Dutch cartoonist. By Captain W. J. Aylxvard 121. Main street in Sanzey. 122. The road through Fossoy, on the German line of retreat. 123. Wagon train at Viffort, July, 1918. 124. A street in Neufchateau. 125. An American relief entering Nesle. 126. Billeting village near Neuf¬ chateau. 127. A sniper at Chateau-Thierry, July. 1918. 128. A street in Neufchateau. 129. A bridge at Neufchateau. 130. The church at Nesles, July 9, 1918. 131. The river at Neufchateau. 132. A billeting village near Neuf¬ chateau. 133. A billeting village near Neuf¬ chateau. 134. Billeting village near Neuf¬ chateau. 135. His bunkie. By Captain Wallace Morgan 136. Artillery outfit going into camp. 137. American artillery, after days of hard fighting, moving through the Bois de Villers Cotterets on the morning of July 19, 1918. 138. Dressing station in ruined farm, region of Ploisy, July 19, 1918. 139. American troops marching through the Place de la Con¬ corde, Paris, July 14, 1918. 140. “The Alert,” Badonviller. 141. Ruined chateau, village of Eix; once headquarters of the Crown Prince. 142. Dugouts occupied by U. S. Marines in an old quarry— Verdun Sector. 143. Bomb-proof billets and “chow,” Neufmaison. 144. In billets. American boys help¬ ing French women strip willow boughs for baskets at Reherrey. 145. The morning wash-up, Neuf¬ maison. 146. A dressing station in a culvert under the road to Lucy, near Bois de Belleau. 147. Supply trains on the Paris- Metz road during the battle of Belleau Wood. 148. Artillery horses in the river at Andilly. 149. Dugouts of the Fifth Marines in Bois de Belleau. 150. German machine gun position in Belleau Wood. 151. “The G. C. at Dawn,” Badon¬ viller. 152. A roadside blacksmith near the lines, Sazney. 153. French light tanks. French co¬ lonial infantry and American artillery moving forward in the region of Ploisy on the morn¬ ing of July 19, 1918. [ 26 ] (C) Committee on Public Information WALLACE MORGAN French Light Tanks 154. Men of the Fifth Marines in reserve near Montreuil. The woods in which the men were encamped, although well back of the line were still in range of the German guns. The men had built individual dugouts in¬ to which they would disappear at the first sound of trouble. 155. Troops resting after a long march, near Sanzey. 156. American soldiers on the march. By Captain Ernest Peixotto 157. The famous cavalry school at Saumur. In the foreground are hurdles and a group of candi¬ date officers receiving instruc¬ tions. 158. American troops parading down Avenue President Wilson on July 4, 1918, Paris. 159. American troops descending Avenue President Wilson on July 4, 1918. 160. A church in Badonviller. 161. Chateau-Thierry. 162. Neufmaisons, a typical village of the Lorraine front in which the American troops were bil¬ leted. 163. Watering horses in a village in the Toul Sector. 164. Barracks at battalion head¬ quarters on the Verdun front held by American troops. 165. Town in German Alsace, in the American zone and patrolled by American military police. 166. Village (Soppe-la-Bas) in Ger¬ man Alsace, used as a head¬ quarters by a regiment of American infantry. The street is camouflaged to prevent ob¬ servation balloons from watch¬ ing troop movements. 167. American soldiers billeted in re¬ ception room of an old Bene¬ [ 27 ] dictine monastery in the Toul Sector. 168. Unloading war material from a big freighter at the dock, St. Nazaire. 169. American observation post front line near Verdun overlooking the road to Metz; village of Handimont. 170. Effects of shell explosion in a town on the north of the Toul Sector. 171. Tressing nets for artillery em¬ placements, central camouflage depot, Dijon. These nets are made of pieces of painted bur¬ lap tied with roppa to chietan wire. 172. A lock in the Rhone Canal (German Alsace) used as an auto post by American troops in No Man’s Land. To the left is a ruined German village; a Chauchat gun emplacement is at the right. 173. Courtyard of ruined chateau in the Toul Sector, now used as repair works for autos and trucks. 174. After the bombardment; Ba¬ donviller. 175. Billets in the cell of the old monastery at Rangeval, near Boucq. Drawings on the wall were made by a soldier, depict¬ ing France killing the German monster. 176. American soldiers washing up in the Doller River in a town in German Alsace. 177. The ammonia compressor at the great ice plant, Gievres. The entire plant, one of the largest in existence, was brought over and constructed by Americans. 178. The inner basins of the port of St. Nazaire. (Note the peculiar “dazzle” camouflage of the steamer in the foreground.) 179. One of the locomotive shops near St. Nazaire. 180. Locomotive shops near St. Na¬ zaire. 181. Houses at Badonviller. 182. Church at Baccarat. 183. Ruins in Baccarat, France. 184. General view of the yards at Is-sur-Tille, France. 185. Making nets and camouflage materials; central camouflage depot at Dijon. 186. Ships unloading American war material at St. Nazaire. (The work on the dock is being done by German prisoners under guard.) 187. A transport with troops coming through the lock at St. Nazaire. 188. The paint shop; central Ameri¬ can camouflage depot at Dijon. 189. Camouflaged barracks for col¬ ored troops ; airing the bedding on Sunday; Is-sur-Tille. 190. Saumur on the Loire. 191. Bombarded town in the North Toul Sector, deserted by its civil population. 192. Machine gun battalion at drill. 193. Afternoon concert in the court¬ yard at the Hospital at Langres. 194. Headquarters of the American Army Schools in an old Renais¬ sance residence. 195. St. Aignan. 196. The river front at Nantes; here the vessels of lighter draught unload American war material. Paintings 197. The Entrance of King Albert into Ostend 198. The Sinews of War Gifford Beal 199. Murder of Edith Cavell George Bellows 200. Teuton Demon Mortimer Block 201. Good Friday in a Paris Church Ernest L. Blumenschein 202. Crime by Moonlight Howard Russell Butler 203. Night Back of the Lines 204. Letters from Home 205. At the Front Charles S. Chapman 206. The Dawn in France Eliott Clark 207. For Their Protection Warren Davis 208. Sunk Without a Trace 209. A Shipyard Paul Dougherty 210. Lift the Burden from Our Children Kenneth Frazier 211. Belgian Refugee Arthur Friedlander 212. Columbia Slaying the Monster Henry B. Fuller 213. Retreat from Lodz, 1914 213a. Russian Army in Carpathians Leon Gaspard 214. Sketch for Russia William J. Glackens 215. The Widow Charles W. Hawthorne 216. Sans Peur et Sans Reproche— Le Chevalier Bayard Albert Herter [ 28 ] GEORGE LUKS Blue Devils on Fifth Avenue 217. An Expedition Eugene Higgins 218. Submarine Sinks Hospital Ship Charles Hopkinson 219. The Trail of the Hun Francis C. Jones 220. If You Have This and Don’t Want This H. Bolton Jones 221. French Day on Fifth Avenue Hayley Lever 222. By the Dawn’s Early Light 223. On the Job for Victory Jonas Lie 224. Blue Devils on Fifth Avenue 225. Czecho-Slovaks Entering Vladi- vostock 226. Czecho-Slovaks in American Camp Celebrating Their Rec¬ ognition as a Nation George B. Luks 227. English Red Cross Nurse Harrington Mann 228. A Scotch Drummer Gari Melchers 229. They Go Across for You J. Campbell Phillips 230. Over There Chauncey F. Ryder 231. Fight On W. Granville Smith 232. She Gave—You Lend Eugene Speicher 233. Why We Must Carry On Gardiner Symons 234. Crusaders 235. Undersea Pirates 236. They Also Serve William Ritschel 237. 1918—Carry On 238. To the Last Drop 239. You Must Choose Augustus Vincent Tack 240. A Ruined Church Eliot Torrey 241. Hand to Hand Walter Varian 242. The Vow Douglas Volk 243. Don’t Camouflage Frederick Waugh 244. First Aid Station at Seichprey 245. By the Dawn’s Early Light 246. Bringing in the Wounded 247. Night Attack near Apremont 248. A Grave on the Marne 249. A Machine Gun Nest 250. Portrait of General Pershing Samuel J. Woolf 251. The Flying Cranes of Bristol 252. The Launch of the Watonwan 253. Two More in Answer to Sea Piracy 254. Ready for the Water 255. Bolt and Rivet Crew 256. Deck of a New Ship—Bristol John C. Johansen 257. Early Morning on Fifth Ave¬ nue, May, 1917 257a. Flags of the Allies Childe Hassam 258. A Tragedy of the War Howard Giles 259. Marshal Joffre Georgine Campbell 260. Knitting for the Soldiers J. Alden Weir 261a. Looking Down Over New York 261b. Flying Formation George P. Ennis [ 29 ] Naval Camouflage Paintings and Drawings by the Marine Camoufleurs of the U. S. Shipping Board, Second District 261. The Camoufleur 262. Morse’s Dry Dock (Night) 263. The Tanker 264. Moonlight Spencer B. Nicholls 265. The Transport 266. Robins Dry Dock (Sketch) 267. Robins Dry Dock (Sketch) 268. Robins Dry Dock (Sketch) 269. Robins Dry Dock (Sketch) Hobart Nicholls 270. Robins Dry Dock (Sketches) Alonzo Kimball 271. Camouflage at Robins Dry Dock 272. Camouflaged Ships at Erie Basin 273. Camouflage on the Mystic River 274. Leaving for Providence Arthur Turnbull Hill 275. Preparing for the Voyage 276. Reflections 277. Repairing the Rudder 278. Waiting Her Chance 279. Preparatory Activity Alfred Hutty 280. Dazzle and Low Visibility George E. Harris 281. “Way Street,” Port Newark Ship Yard 282. Along the Fitting Dock, Port Newark Ship Yard 283. The Gantry Crane, Port New¬ ark Ship Yard Hubert R. Chapin 284. On the Float Henry Davenport 285. The Freighter 286. Camouflage Harry Farlow 287. On the Hanging Stage 288. High and Dry 289. Repairing the Propeller 290. Robins Dry Dock Thomas D. Benrimo 291. Activity at Number Four 292. From Over There Ralph T. Willis 293. War Paint 294. Camouflaged C. M. Sax 295. British Dazzle 296. Through An Old Funnel M. McGregor Jamieson 297. Old-Fashioned Shipyard Alon Bement Drawings by George Wright Sketched at the Pelham Bay Train¬ ing Station and at the Brook¬ lyn Navy Yard 298.—305. [ 30 ] SAMUEL J. WOOLF First-Aid Station at Seicheprey Cartoons by W. A. Rogers 306. Like Sheep to the Slaughter (Verdun) 307. A Silent Company (Lusitania) 308. Hold Fast! (The Beast of Berlin) 309. Museum of Ancient History— Berlin (Relics of the Hohen- zollerns) Cartoons by C. D. Gibson 310. —315. Drawings by Samuel J. Woolf 316. Marshal Joffre 317. General Hunter Liggett 318. General Robert L. Bullard 319. General Clarence Edwards 320. General Robert Alexander 321. General Frank W. Coe 322. Hun Gratitude (Drawing) Drawing 323. The Serb Boardman Robinson Woodcut 324. President Wilson Timothy Cole (after Sargent ) Etchings by Louis Orr 325. Rheims Under Fire —-The Fagade 326. Rheims Under Fire —View from the South 327. Rheims Under Fire —The Interior Posters ( Original Drawings) 328. All Together 329. Campaign Poster for United War Work 330. The Navy Puts ’Em Across 331. The Destroyer Patrol Lieut. Henry Reuterdahl, U.S.N. 332. Help the Women of France— Save Wheat Edward Penfield 333. The President’s Appeal to Labor Herbert Paus 334. Keep Him Free Charles Livingston Bull 335. Navy Recruiting Poster Albert Sterner 336. God Gave You All You Have to Give F. Walter Taylor 337. Sketch for Navy Billboard Arthur Crisp 338. Must Mothers Die and Children Plead in Vain? Walter H. Everrett 339. Navy Recruiting Poster R. F. Babcock 340. Camouflaged Ship Convoyed by Destroyer Adolph Treidler 341. Navy Recruiting Poster J. C. Leyendecher [31 ] 342. Feed a Fighter Wallace Morgan 343. The Navy Strikes Now (Sketch) James Daugherty 344. Navy Recruiting Poster Kenyon Cox ( Lithographs ) 345. Stand Behind the Country’s Girlhood—Y. W. C. A. W. T. Benda 346. Order Coal Now J. C. Lyendecker 347. Hunger 348. Blood or Bread 349. Halt the Hun Henry Raleigh 350. Food Is Ammunition 351. Hey, Fellows! J. E. Sheridan 352. Keep It Coming George Illian 353. The Camp Library is Yours 354. Books Wanted 355. New York Decorators’ Fund 356. E-E-E-Yah-Yip C. B. Falls 357. War Rages in France Harry Townsend 358. Together We Win James Montgomery Flagg 359. If You Can’t Go Across with a Gun, Come Across with Your Part of the Red Cross War Fund C. W. Love 360. Motherless, Fatherless, Starving Arthur Crisp 361. Help Her Carry On Charles Dana Gibson 362. That Liberty Shall Not Perish from the Earth Joseph Pennell 363. His H ome Over There— Y.M.C.A. Albert Ilerter 364. Look After Mv Folks Frank Brangwyn 365. 24-Sheet W. S. S. 366. Help Stop This 367. Farm to Win 368. Make Every Minute Count for Pershing Adolph Treidler 369. Enlist in the Navy Milton Bancroft 370. Teamwork Wins Hibbard V. B. Kline 371. Over There Albert Sterner 372. Hip, Hip, Another Ship George Wright 373. On the Job for Victory Jonas Lie 374. Eat More—Eat Less L. N. Britton 375. Help Your Red Cross Hubert Chapin 376. Save Food Herbert Pans 377. Carry On Edwin H. Blash field 378. Four Years in the Fight—The 379. Remember—The Flag of Lib- Women of France—We Owe ertv—Support. It Them Houses of Cheer Anonymous Lucien Jonas Lithographs by Joseph Pennell FUEL AND FOOD SERIES 380. Loading Coal 381. Stock Yard 382. Coal and Corn Ships 383. The Sidewise Launch 384. The Endwise Launch 385. Loading Ore 386. The Push 387. The Classic Breaker 388. Bessemer Steel 389. Camoufleurs Camouflaging 390. Repairing the Wheel 391. The Towers of Oil 392. The New American Town 393. The Flour City 394. The Old Breaker 395. The Highest of All 396. The City of Tanks 397. Morning Mist in the Coal Coun¬ try 398. The Mining Town 399. Breaker Land 400. In the Yards 401. Pork 402. The Mine City ENGLISH WAR WORK 403. Cutting and Turning a Big Gun 404. Bottling the Big Shell 405. Evening in the Munition Coun¬ try 406. Bringing in the Gun 407. By-Products 408. Making Armor Plate [* 409. Within the Furnaces 410. The Great Tower 411. The Cauldron 412. The Old Shipyard 413. Planing Big Shells 414. The Urns 415. The Acolytes Preparing the Altar of the War Gods 416. The New Gun Pit 417. The Great Hammer 418. The Presses 419. The Perambulator AMERICAN WAR WORK 420. Ready to Start 421. Building the Battleship 422. Making War Locomotives 423. The Flying Locomotive 424. The Armor Plate Press 425. In the Land of Brobdingnag 426. The White Hammer 427. Shaping a Gun from an Ingot 428. Casting Shells 429. Shell Factory, No. 2 430. Shell Factory, No. 1 431. Forging Shells, the Slaves of the Wheel 432. Little Men of the Big Hammer 433. Ready for Service Again 434. Building Submarine Chasers 435. Under the Shed 436. Battleship Coming Home 437. Submarines in Dry Dock 438. Building Destroyers, No. 2 439. In the Dry Dock 8 ] Lithographs by George Bellows 440. Murder of Edith Cavell 441. Sniped 442. Gott Strafe England 443. Massacre at Dinant 444. The Germans Arrive 445. Dressing Station 446. The Barricade 447. The Last Victim 448. Return of the Useless Lithographs by Childe Hassam 449. North River 450. Lafayette Street 451. Camouflage 452. The Avenue of the Allies 453. The French Cruiser 454. New York Bouquet 455. Portrait of General Pershing (Lithograph) Leo Mielziner 456. The Gantry (Lithograph) Herbert Pullinger 457. Sketch for Victory Arch from Design by Thomas Hastings (Lithograph) Chesley Bonestell Group of Drawings by Hugh Ferriss 458. -467. Sculpture 468. Forward, Democracy! Herbert Adams 469. Peace Albert Henry Atkins 470. Captured, but Not Conquered 471. Victory Cyrus W. Dallin 472. Portrait of Rear-Admiral Gleaves 473. Commander of Transport, U. S. N. Bell Kinney 474. Blighty 475. Sketch for Monument to Guy Drummond R. Tait McKenzie 476. The Spirit of 1918 Basilica Paeff 477. The Advancing Democracy Charles H. Niehaus 478. One of the Buffaloes 479. Artilleryman Mahonri Young 480. Christianity Crushing Autoc racy Cartinano Scarpitta 481. Backing Them Up Solon Borglum 482. Salut aux Americains Brenda Putnam 483. A Modern Crusader of Serbia Malvina Hoffman 484. Belgium Edith Barretto Parsons 485. Belgium Salvatore Billotti [ 34 ] 486. The Shrine of Liberty Ulric Ellerheusen 487. The March of Democracy Albert A. Weinert 488. A Poet of the Air 489. The Son of a Great Actor Sarah Morris Greene 490. Columbia, 1918 Hermon A. MacNeil 491. A Young Aviator Arina Coleman Ladd 492. The Refugees E. C. Potter 493. L’Elan Vital Eugenie F. Shonnard 494. Bereaved Isador Konti 495. Sammy George T. Lober 496. Hun Knighthood C. C. Rumsey 497. Red Cross Dog 498. Wounded Soldier Frederick C. R. Roth 499. Design for Medal for Valor 500. Study for War Monument Jessie M. Lawson 501. Jeanne d’Arc Medal Kultur Medal French Heroes’ Fund Medal Art War Relief Medal Paul Manship 502. Lieut. Henri Farre 503. Major Gabriele d’Annunzio Clio Bracken 504. Columbia—1918 Adolphe A. Weinman 505. The Grenade Thrower Albert Jaegers 506. Red Cross Nurse Mabel Conkling 507. Medal Commemorative of the Crossing of the Channel by “Plane” of King Albert and Queen Elizabeth 508. Medal of the Allies (American Fund for French Wounded) Theodore Spicer-Simpson Landscape Targets As Used in the Artillery Schools Bolton Jones \ Francis C. Jones 509a. Augustus Vincent Tack [ 35 ] Great Britain A Set of Lithographs Reflecting Britain’s Efforts and Ideals in the Great War. Loaned by the British Goveryiment I Britain’s Eric Ke nning ton Making Soldiers 1 x. Bayonet Practice 2 x. Fully Trained. Ready for Ser¬ vice 3 x. In the Front-Line Trench for the First Time 4 x. The Gas Mask 5 x. Over the Top 6 x. Bringing in Prisoners Frank Brangwyn, A.R.A. Making Sailors 7 x. Youthful Ambition 8 x. Going Abroad 9 x. Boat Drill 10 x. The Lookout llr. The Gun 12 x. “Duff” George Clausen, R.A. Making Guns 13 x. Where the Gun is Made 14 x. The Furnace 15 x. The Great Hammer 16 x. Turning a Big Gun 17 x. The Radial Crane 18 x. Lifting an Inner Tube Efforts Muirliead Bone Building Ships 19 x. A Shipyard 20 x. On the Stocks 21 x. A Shipyard Scene from a Big Crane 22 x. A Work Shop 23 x. A Fitting-Out Basin 24 x. Ready for Sea C. R. W. Nevinson Making Aircraft 25 x. Making the Engine 26 x. Assembling Parts 27 x. Acetylene Welder 28 x. In the Air 29 x. Banking at 4,000 Feet 30 x. Swooping on a Taube Charles Pears Transport by Sea 31 x. Maintaining Food Supplies 32 x. Maintaining Export Trade 33 x. Supplying the Navy 34 x. Transporting Troops 35 x. Maintaining Oversea Forces 36 x. The Place of Safety r 36] C. R. W. NEVINSON Banking at Four Thousand Feet A. S, Hartrick, A.R.W.S. Woman's Work 37 x. On the Land—Ploughing 38 x. On the Railways—Engine and Carriage Cleaning 39 x. In the Towns—’Bus Conductor 40 x. On Munitions: Skilled Work 41 x. On Munitions: Dangerous Work—Packing T. N. T. 42 x. On Munitions: Heavy Work— Drilling and Casting Willia m Rothenstein Work on the Land 43 x. Ploughing 44 x. Drilling 45 x. Burning Couch Grass 48 x. Potato Planting 47 x. Timber Hauling 48 x. Threshing ClaudeS hepperson, A.R.W.S. Tending the Wounded 49 x. Advanced Dressing Station— in France 50 x. Casualty Clearing Station— in France 51 x. Hospital Transport 52 x. Back to “Blighty”—Detrain¬ ing in England 53 x. In Hospital — in England 54 x. Convalescence—in England 55 x. Defense Against Aggression— England and France, 1914 Ernest Jackson 56 x. Italia Redenta Charles Ricketts 57 x. The Freedom of the Seas Frank Rrangwyn, A.R.A. 58 x. The Triumph of Democracy William Rothenstein 59 x. The End of War William Nicholson 60 x. The Restoration of Alsace-Lor¬ raine to France Maurice Grieff enhagen, A. R. A. The Reconstruction of Belgium George Clausen, R.A. 62 x. Poland, A Nation Edmund Dulac, R.W.S. 63 x. The Restoration of Serbia Professor G. Moira 64 x. The Dawn Augustus John 65 x. The Reign of Justice Edmund J. Sullivan, A.R.W.S. 66 x. The Re-birth of the Arts Charles Shannon II Britain’s Ideals 61 x. [ 37 ] Lithographs by G. Spencer Pryse 510. East Indian Soldiers in Park of French Chateau 511. Artillery Moving into Position 512. The Stretcher Bearer 513. An Advanced Dressing Station 514. A Wayside Crucifix 515. Flight by Land 516. Flight by Sea 517. Belgium, 1914 518. The War Office Telegram 519. The British Army at Le Mans 520. The Only Road for An Eng¬ lishman 521. Destitution 522. An Incident of 1914 523. The Uhlan Raid 524. Guns in Action 525. Forest in Compiegne 526. Belgian Maternity 527. Interior of a Belgian House 528. Bathing at Ostend 529. Alarm at Beveren 530. Troops on the Yser 531. Serbian Flag Day 532. British Cavalry Bivouac 533. Indians and Motor Buses 534. Refugees, 1914 535. Fall of Ostend 536. Cavalry Divisions in Ghent 536a. Grand Palace—Antwerp, 1914. 537. Fall of Ostend on the Digne 538. Stretcher Bearers in Cham¬ pagne 539. Retreat of the 7th Division and 540. 3rd Cavalry Lithographs by Frank Brangwyn 541. The Last Boat 542. German Atrocities 543. A Solitary Prisoner 544. The Submarine Menace 545. War ! To Arms, Citizens ! 546. Remaking of Belgium 547. Men on the March 548. Ypres Tower 549. Orphans of the War 550. U. S. Navy Poster 551. Mars Appeals to Vulcan 552. Do Your Duty to Our Boys 553. The Zeppelin Raids 554. Violation of Belgium 555. Neuve Chapelle 556. Navy Recruiting Poster 557. Sketch for Recruiting Poster Dry-Points by James McBey 558. Albert 559. Boulogne, 1916 560. Spring, 1917 561. Frangais Inconnus [ 38 ] FRANK BRANGWYN The Last Boat F ranee Lithographs by Lucie n Jonas 562. Before Going Over the Top 563. The Dispatch Bearer 564. A Volunteer 565. The Permanently Disabled 566. I Love You All the Better As You Are Now 567. Self-Sacrifice 568. I Shall Tell Nothing 569. They Must Wait for Revenge 570. Mater Dolorosa 571. The Great Offensive 572. The Blind Chaplain and the Paralyzed Soldier 573. The Sentry 574. The Dead: Attention! 575. During the Bombardment by Barbarians 576. The Soldier of Invaded Coun¬ tries 577. Men of the Somme 578. Deported French Women 579. The Ramparts of Verdun: “They Shall Not Pass!” 580. The Sower 581. Prisoners of War 582. Antigone, or the Blind 583. Our Soldiers: They Hold Well! 584. Before the Ramparts of Verdun 585. They Have Killed Her 586. I H ave Come to Avenge Your Father 587. Wait, I Come Lithographs by Tin. A. Steinlen 588. Leaving the German Prison 589. Courage! 590. Serbian Cavalry 591. Two Poilus 592. Home on Leave 593. Old People of Verdun 594. Under the Heel of the Boche 595. The Return 596. The Orphans of the War 597. The Refugees of Meru A Group of Posters Lithographs by J. L. Forain 598. Greek and French 599. The School of the Neutrals 600. Forward! 601. The Tableau 602. What, Not Even a Child? 603. The Other Danger 604. The Zeppelin A Group of Posters 605. Portrait of His Son, in Uniform (Drawing) Auguste Renoir 606. La Tradition (Woodcut) 607. Hymne Americain (from the drawing) Hermann-Paul 608. Jeu du Soldat Franqais (from the drawing) Guy Arnoux 609. Pour la Belle Terre de France (from the drawing) Benito 610. They Must Have Their Vic¬ tories 611. We Are Kind Not to Requisi¬ tion Your Milk Abel Faivre A Group of Posters by Various Artists [ 39 ] Italy Etchings of Aeroplanes by Gianni Caproni 613. 620. A Group of Posters by Various Artists Czecho-Slovaks Etchings by J. C. Vondrous 621. Title Plate “The Kultur-Bear- ers” 622. Belgium. “The Transportation of Belgians is not only a Right but a Social Duty of the Ger¬ man Government” 623. The Zeppelin. “A Remarkable Success. Another Great Victory by Our Dirigibles” 624. The Submarine. “And the Gal¬ lant Deeds of Our Submarines Have Secured for My Navy Glory and Admiration Forever” 625. Preservation of Art. “We Are Restoring all the Ruined Churches, Taking Care of all Works of Art as well as Works of Historical Value. Yet We Are Only Barbarians?” 626. And Serbia ? Holland Drawings 636. by Louis Raemaekers 637. 627. The Russian Ballet 628. Judas, Humanity Destroyed 629. Pals 639. 630. The Mad Shepherd 631. For the Little Ones ^4:0. 632. Cinema Chocolate 641. 633. Super Goth in Italy 634. Ameri can Soldiers and German- American 643. 635. You Need Cooling, My Friend 644. [ 40 ] Striker to Agitator American Squadron in British Waters Let Us Smoke the Peace Pipe We Must Have Something for All Our Trouble Fancy a Hundred Children Killed The Slackers Pacifist Woman High Treason Russian Extremist LUCIEN JONAS A Volunteer C. W. KRAUSHAAR ART GALLERIES 260 Fifth Avenue NEW YORK ^iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiii O A J r IE Jf r iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiK PAINTINGS b y Whistler Lavery Fantin-Latour Zuloaga Legros Maris Courbet Israels Yollon Tack Monticelli Sloan Le Sidaner Guarino Besnard Luks | BRONZES by I | Barye, Bourdelle and Mahonri Young 1 I RARE ETCHINGS by I | Whistler, Legros, Bauer, Zorn | | Muirhead Bone, Brangwyn | ! and Sir Seymour Haden | ^iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiuiiiiiiiiiiiiiiniiiiir On View ENGLISH PORTRAITS AND COLORED MEZZOTINTS OF THE XVIII CENTURY AT M. 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MACBETH GALLERY PAINTINQS by American Artists Beal Dougherty Henri Melchers Sartain Betts Foster Homer Miller Symons Blakelock Frieseke Howe Murphy Tryon Carlsen Fuller Hunt Olinsky Twachtman Carlson Groll Inness Ranger Weir Davies Hassam LaFarge Robinson Wiggins Davis Flawthorne Martin Ryder Williams Daingerfield Wyant Colonial Portraits n mini i n miuummiuiiuiiiuuiiui u u 11 niirniiniinuiiiimTmnumiiiimaiiiiiimnniiaiimnm WILLIAM MACBETH 450 Fifth Avenue (At Fortieth street) New York City iminniimmimmuimi iiimnmimiiiiiiiiimimiimiiiiiimmiumnimiimni The MILCH GALLERIES Dealers in AMERICAN PAINTINGS We recommend especially the pictures of con¬ temporary artists whose reputations have been established by the high merit of their work Our booklet with the latest art news of the galleries sent you on request E. & A. 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Rare Engravings and Etchings Artists’ Drawings Fine Picture Framing 4- East Thirty-ninth Street New York Compliments of H. Altman $c (Eo. Madison Avenue F i f t h Avenue NEW YORK Th irty -Fou rth Th irty - Fi ft h Street Street Established 1888 Henry Schultheis Co. Fine Paintings Prints ARTISTIC FRAMING 142 Fulton Street NEW YORK Telephones: Cortlandt 2477-24.78 We Negotiate Sales of HOUSEHOLD POSSESSIONS ANTIQUES, Etc. “He who brings buyer and seller together in honest trade does good to both” EDWARD P. O’REILLY Auctioneer and Appraiser Our knowledge, experience and re¬ putation assure the satisfaction of those who deal with us, whether in the capacity of seller or buyer PLAZA ART ROOMS Incorporated 5 and 7 East 59th St. New York City DEVOE ARTISTS’ TUBE COLORS Are scientifically true colors pre¬ pared from carefully selected pig¬ ments thoroughly incorporated with the purest oil, and have that finer consistency and fineness of texture required by artists. The fact that we have been color makers for 1 50 years, no doubt, is sufficient guarantee for their reliability. If you are not acquainted with our new line of Equalized Spec¬ trum Colors send to us for par¬ ticulars. Canvas, Academy Boards, Fine Brushes for Oil and Water Color Painting, Artists’ Materials, Etc. ...........mu..... hi.'I DEVOE & RAYNOLDS Incorporated New York Chicago o o L TEMPERA L E COLOR E O O THE ADEQUATE MEDIUM OF EXPRESSION For Water Color, Poster or Tempera Work Ask your dealer, or write to us for folder explaining the best methods of use A. Sartorius & Go. INC. 57 Murray St., NEW YOKK MARTINI WW WHY DO AMERICAN POS¬ TER ARTISTS OF THE FIRST RANK USE AN AMERICAN MADE COLOR FOR THEIR WORK? DISTRIBUTED IN U. S. A. BY FAVOR, RUHL 8c CO. NEW YORK BOSTON CHICAGO WAR PICTURES LOUIS RAEMAEKERS whose work constitutes one of the greatest forces in the winning of the war. AS his American agents we offer a large collection of his original drawings and prints. We also show the work of other notable war artists, many of whom are represented in this exhibition, including Steinlen, Forain, Jonas, Brangwyn, Spencer Pryse, Louis Orr, etc. WAR POSTERS, LITHOGRAPHS, PRINTS An Exhibition, “Art and the War,” is available for communities or institutions, accompanied by a stereopticon talk with more than one hundred slides. BROWN ROBERTSON COMPANY 7 West 42d Street, New York City Inco1 ported 7 GETTY RESEARCH INSTITUTE 3 3125 01202 5371