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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 - MCMXVHI
HOUGHTON MIFFLIN COMPANY
THE RIVERSIDE PRESS CAMBRIDGE

COPYRIGHT 1918
BY HOUGHTON MIFFLIN COMPANY
All rights reserved

Sa35X

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
off 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-^even 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 sky 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  36
From sketch in possession of Mr. Alexander Morgan
Finis, by A. C. Morgan  30
Club Members, 1879, by H. P. Share . . . .34
Drawn for " Young Artist Life 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 12/A Street, by Charles S. Chap
man  74

' CO
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 12th 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. Chap7
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  10Q
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  Ig4
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 Art, not pelf,
Be boss, and Justice stand upon our shelf.
And old friends gone, we greet you loo —
We drink a silent toast to you.
Old Friends and new — the old — I give my hand to you,
The new — why, someday you '11 be old — J give my hand
to you.
J. B. CARRINGTON

A HISTORY
OF THE SALMAGUNDI CLUB
CHAPTER I
rrs 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

C 2 1
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 "
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 Wilt 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 their
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 ]
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 1
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 Pf aff '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 Crabtree, 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 "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

BOXING IN HARTLEY'S STUDIO
From a drawing by WUl H. Low

n 7 j
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 hi 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 1
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 1
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

I 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

C 12 3
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

ABANDONED
By W. H. Shelton

C 13 ]
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 n
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 is 3
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 ]
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 tille "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,

C 17 3
"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 Bevenue
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 is 3
'"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!"

C 19 ]
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 '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) isa
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.
Shejton, 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 3
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

[ 22 3
Gaul, T. de Thulstrup, Charles Graham, and
I. 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 3
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-

C 24 3
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 3
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 fight 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

E 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
$1 145 ; 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 " within a month after
joining. C. D. 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.

SCIENCE HAUL

"sai

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

C 32 3
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 3
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 3
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.

CLUB MEMBERS, 1879
By H. P. Share

t 35 3
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

L 36 3
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.
Itshouldbe statedhere thatMr. Hartley'sfather-
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 3
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 3
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 "charge bayonet," and the
figure poised forward in action suitable to that

C 40 3
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

C 41 3
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 Sarpny'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

C 42 3
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

-B

In hoc eft hoax, cvin qviz et jokefez,
Et finokein, toaftem, roaftem folkfez, -
Fee, fitw, fvm. Psalmanaiar.
With baked, and.broil'd, and ftew'd and toaft'd,
And fried and boll'd, and fmok'd and roaft'd*
We treat the town.

4-

L

U^i^tx^C^-^

The Salmagundi Sketch Club
will be
pleased to receive you
Friday Kve., Dec. 1 7th, 1 880,
8.3O o'clock.

B

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 3
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-

C 45 3
cussed at length and it was decided to raise the
dues, as the present receipts would not 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 & 3.
original drawings from which recent illustrations
had been made. The "Scribner's" 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.

[ 48 3

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. ,

/aoccclxx>;ui

CHAPTER TV
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

n 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.

n 51 3
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-

C 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.

[ 53 3
"Among those who were present were Mr.
Perry, of 'Scribner's'; 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 Rowe, 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-

L 54 3
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 I.' 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 3
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 3
Building in Thirteenth Street, when occupied by
Abbey, Reinhart, and Bleecker Mitchill, was di
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

C 59 3
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 neyer 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

C eo 3
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

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^f^'-fr'i^y Cv«- (Joye/^ber 21.1390

INVITATION TO HOUSE WARMING

C 61 3
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 3
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, f «„„•„„ i
"H. W. Ranger, ' Committee.
"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

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 3
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.

C 65 3
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 E^osition by
means of primitive modes of travel.

C 66 3
"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 3
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 3
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 3
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 %ake 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

[ 70 3
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 71.3
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 3
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'h6te 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 3
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 STBEET
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 Frorit, 14 West 12th Street
FROM A CHARCOAL DRAWING BY CHARLES S. CHAPMAN

C 75 3
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 3
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.

BILLIARD-ROOM, 14 WEST 12TH STREET
From a charcoal drawing by Charles S. Chapman

C 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
denned 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

L 78 3
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 3
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 family lived in the kitchen
or as Andrew called it the galley, and occupied
the two baqk 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:

¦¦¦¦ -. ' " -•- -'.

HBBWy

St ¦ :^ la
HHwt££ ¦ -
Bill Hi
%%&
.. ¦ ¦
'^j^k^
r'-II &¦* *^l
GALLERY, 14 WEST 12TH STREET
From a charcoal drawing by Charles S. Chapman
C 81 3
" Salmagundi Cluh.
" 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-

n 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
From a charcoal drawing by Charles S. Chapman

C 83 3
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

C 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. Tne 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 3
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

HALL, 14 WEST 12TH STREET
From a charcoal drawing by Charles S. Chapman

I 87 3
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 3
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

I 89 3
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

n 90 3
custom that had prevailed briefly, years before,
at 123 Fifth Avenue, when the dub 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

[ 91 3
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-

C 92 3
gundi Club for the accommodation of members
and their guests on Tuesday, December 11th,
1899. "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 3
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 3
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.

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 22d St.
t "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 3
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-

C 97 3
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,

II 98 3
Dr. Lubke'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 NichoUs, 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 fist),
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 S alius ¦
In Court Costume of Edward VII
PORTRAIT BY GEORGE M. REEVS

[ 99 3
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 VVillyam
VVarde," 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 Cliffords-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 ioo 3
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.

LIBRARY mugs
Left to right: Chauncey F. Ryder, Corwin Knapp Linson, F. K. M. Rehn

C 101 3
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

C 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."

THE ABBEY MUG

, C 105 3
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 3 ,
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

C lot 3
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
NINETEENTH CENTURY
IN ORIGINAL FASHION PIATE5,

FOR THE • LIBRARY • OF
THE'5ALMAGUNDICLU5 NEW YORK <&> <& & M CM

TITLE-PAGE
Designed by Thomson Willing : Head by F. Luis Mora

C 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

I 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 :
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 H.
"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 Frangais, depuis l'organi-
sation des premieres troupes reguli&res 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 3
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«,gain
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 3
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.

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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

PARLOR, 14 WEST 12TH STREET
From a charcoal drawing by Charles S. Chapman

C 121 3
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
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;

C 122 3
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 Company, 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

n 124 3
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-ROOM, 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 3
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

C i2r 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-

STAHiWAY, 14 WEST 12TH STREET
From a drawing by Howard Giles

[ 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 pamters 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

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
Steinway 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

n 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, Js  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 CpMMITTEES
President
F. BALLARD WILLIAMS
1st Vice-President 2nd Vice-President
EMIL CARLSEN 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
Entertainment Committee
CHAIRMAN, FELIX LAMOND
MONTAGUE GLASS DAVID ROBINSON
CLARKE G. DAILEY J. H. GARDNER SOPER
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
WALTER JACK DUNCAN
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

INDEX

INDEX

Abbey, Edwin A., at the
Tife 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.
1 Aylward, W. J., member of
committee on admissions, 141.
Baihd, 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,

I 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. Bredin, 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 WT 3

the St. Nicholas, a subject for
one of the weekly contests,
33. Champney, J. Welbb, 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 3

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.
Grelms, 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 iUuminated 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 3

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.
Hutetngton, 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.
Ktlpatrick, 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.

I 152 3

La Farge, John, selections
from the library of, 111.
Laffan, William M., his
Tile Clubname'Tolyphemus,"
121. 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 Buren,
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-

C 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. 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, Felix, 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.

C 154 3

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,

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.
Oppenheimer, 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, William 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.
Perbett, 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
earlymeetings 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, Henby R., gift of
chairs from, 137.
Pothast, Edward, a panel
by, 88.
Powell, Arthur E., gift of
chairs from, 137.
Preyeh, "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 wanning, 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.
Reinhart, 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.
Rrx, Julian, landscape panel
by, 87.
Robinson, David, member

t 156 3

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.
Ruthrauff, C. C, speaker
at the Nickel-in-the-Slot din
ner, 71.
Salnt-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 3

Tile Club, 120; moves to 47
Fifth Avenue, 181.
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; hea4 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;
"Shelton'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.

[ 158 3

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.
Slavinski, 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, Goldwin, 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, 1. W., name first ap
pears, 21.
Taylor, C. Jay, of Puck, at
house wanning, at 123 Fifth
Avenue, 53.
Taylor, George M., as
chairman of house committee,
established the office, 92.

C 159 3

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.
Thulstrup, 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, 0. 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 3

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, Genjiho, 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 Rurus, name ap
pears in early records, 21.
Zorn, Andres, reception
to, 68.

Five himdred copies printed at The Riverside
Press, Cambridge, Massachusetts, in December,
1918. This is No. tyl.

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