The Concord Art Association
The President and Directors
And The Committee of Artists
Request the Honour of Your Presesnce
At The Private View of
The Sixth Annual Exhibition
Saturday Evening, May 3rd 1922
From Eight to Ten

Patronesses [1922]:

Mrs. Herbert W. Blanchard, Mrs. George R. Blinn, Mrs. Charles R. Borland, Mrs. M. B. L. Bradford, Mrs. Henry H. Bealey, Mrs. Henry Brooks, Mrs. Stedman Buttrick, Mrs. Sidney Coolige, Mrs. John M. Eaton, Miss Elizabeth L. Everett, Mrs. Woodward Hudson, Mrs. John G. Morse, Mrs. M. Irving Motte, Mrs. B. Stewart Murphy, Mrs. Charles H. Pepper, Mrs. George E. Walcott, Mrs. Walter S. Wood, Mrs. G. Walter Vialle

Private View

Concord: The private view of the sixth annual exhibition of the Concord Art association was held Saturday evening, May 13, from 8 to 10.

It is pleasant to look forward to the adequate housing that such a wonderful collection of paintings, etchings miniatures, sculpture and drawings will have in the new building belonging to the Concord Art association on Lexington road which will soon be devoted wholly to similar exhibitions and Concord may well be proud of the fact that such artists as Henri, Bellows, Mary Cassatt, Marie Danforth Page, Hawthorne, Alice K. Stoddard, Redfield and Johansen, besides French, MacMonnies, Malvina Hoffman, Gertrude Vanderbilt, Sears Gallagher, Benson, Bichnell, Little, Pennell, Woodbury, etc. have recognized the value of the Concord Art association exhibitions by sending in their canvasses and studies. Concord has been well to the front in the idea, while other places are now falling into line.

Of the out-of-town portrait artists, George Bellows with his portrait of “My Mother;” John C. Johansen, “Portrait of Alexander W. Drake, Esq.” [the former art editor of the Century Magazine]; Robert Henri’s “Spanish Girl;” Charles W. Hawthorne’s “Portrait of Evelyn Chambers” and Marie Danforth Page’s “MacAuliffe,” easily take first place; while of the landscapes and groups, “Mother and Children” by Mary Cassatt, “Cornish Coast” by W. Elmer Schofield, and “The Garden Gate” by Elizabeth M. P. Bartlett, the latter a small bit of delightful coloring, are attracting much favorable notice.

There is a wonderful collection of etchings in which some of the best etchers both in this country and across the water are represented, while the miniatures have been sent in by May Fairchild, Sally Cross, William J. Whittemore and many others.

Among the sculptures, Daniel Chester French’s “Lincoln” stands well to the fore, with its supreme dignity of pose and the wonderful technique manifested in its execution, while A. Phimister Proctor’s “Bronco Buster,” Victor D. Salvatore’s “Top Knot” and R. Tait McKenzie’s “The Onslaught” show great talent both in design and technique.

Mrs. Renfrew’s orchestra furnished music and the numbers were especially well selected suited for the occasion.

Sunday, May 7, 1922

Art:. The New York Times.

The Concord Exhibition

The little town of the Embattled Farmers is doing excellent work with its art exhibitions. The Concord Art Association announces the sixth annual exhibition, opening to the public in the Town Hall May 14, and lasting until May 20. The Committee of Selection and Award is: Charles Hopkinson, Chairman; Chester Beach, Charles Bittinger, Paul King, Albert Laessle, Charles H. Pepper, Gardner Symons, Alice Ruggles Sohier, Lucy M. Stanton and Mabel R. Welch. The Hanging Committee is Gertrude Fiske and Elizabeth W. Roberts.

The sculptors and painters exhibiting from New York are Paul W. Bartlett, Chester Beach, Daniel C. French, Malvina Hoffman, Anna V. Hyatt, Evelyn B. Longman, Paul Manship, Frederick MacMonnies, Edith B. Parsons, Victor Savatore, Mrs. Harry Payne Whitney, Mary Cassatt [Paris], Charles W. Hawthorne, George Bellows, Robert Henri, John Sloan, Gardner Symons, Leon Kroll, Maurice Fromkes, Eugene Speicher, John C. Johansen and W. Elmer Schofield.

Those from Philadelphia are Charles Grafly, Walker Hancock, Albert Laessle, R. Tait McKenzie, Samuel Murray, Wayman Adams, Daniel Garber, Paul King, Carroll Tyson Jr., Alice Kent Stoddard, John F. Folinsbee and Joseph T. Pierson Jr.

From Boston, Cyrus E. Dallin, Charles Hopkinson, Charles H. Woodbury, Aldro T. Hibbard, W. Lesser Stevens and others.

Monday, May 29, 1922.

New York Evening Post,

Concord Proud of Its Art Exhibition
National in Scope With Notable Examples From Leading Artists

Last Show in Town Hall
Association to Have Home in House Built in 1760

By Sidney C. Woodward

[Special Dispatch to the Evening Post]

Concord, Mass, May 29 - The officers of the Concord Art Association have reason to feel proud of their sixth annual exhibition now open at the Town Hall to continue through May 29. It is national in its scope. The paintings, sculpture, miniatures, etchings, and drawings were submitted by as select a group of artists as the country’s premier exhibitions can boast.

This is the last of these exhibitions which will be shown in a poorly equipped, badly lighted Town Hall. A permanent home has been purchased by the association, an old Colonial mansion, which will make Concord one of the few New England art colonies with an exhibition gallery of its own.

The house is supposed to have been built about 1760. It figured preeminently in the Revolutionary War and was used as a station for the underground railroad in the Civil War when it came into possession of one Joel Walcott. Up to recent years it belonged to his heir, Henry J. Walcott from which it was bought by the association. It stands two and one-half stories high, the main door slightly off centre; an ell on either side and one extending in the rear.

Three large sized rooms on the lower floor are to be preserved without alteration. These are low in ceiling with hewn oak beans running lengthwise and the walls paneled from the floor up. Here the permanent collection of the association will be housed. Up stairs the partitions of the seven rooms will be torn out, and instead a large exhibition gallery will extend from ell to ell.

The jury composed of Charles Hopkinson, chairman, Chester Beach, Charles Bittinger, Paul King, Albert Laessle, Charles H. Pepper, Gardner Symons, Alice R. Sohier, Lucy M. Stanton, and Mable R. Welch awarded four honorable mentions with certificates. Both in the awards and in the selection of exhibits they acquitted themselves with rare judgment and taste.

The Prize Winners The prizes were given as follows: In Painting to Charles W. Hawthorne for his portrait of “Evelyn Chambers”; in drawing, to Elizabeth Wentworth Roberts, for a pencil portrait of a “French Peasant”; in sculpture, to Charles Grafly, for his bust of “Frank Duveneck,” and in etching to Joseph Pennell for a group of eight prints.

In a limited space it is possible only to mention a few of the high spots of a collection that includes as does this one, sixty-three oil paintings, twenty-one miniatures, 145 etchings, twenty-seven sculptures, and fifteen drawings. Charles Hawthorne’s painting of little Miss Chambers is a glorious achievement in simplicity, conception, and originality. A small girl, inscrutably smiling, dressed in blue, her knees bared, is seated in front of a dark boulder. There is a highly imaginative suggestion of a landscape beyond. The whole is a curious yet beautiful harmony of Hawthorne colors.

Gardner Symons has one of his handsome portrayals of New England landscape in early spring. Elmer Schofield’s contribution is a powerful marine, permeated with a delightful silvery tonal quality, one of the outstanding paintings of the exhibition. There are several portraits of distinction--Robert Henri’s canvas, “Spanish Girl”; a dashing portrait of Alexander Drake, by Johansen; a Whistleresque portrait of Edward A. Newell, by Gertrude Fiske, Wayman Adam’s brisk out of door study of Redfield; Charles Hopkinson’s portrait of Elizabeth Caswell, one of his finest achievements in child portraiture, which is saying much. The blunt, truthful and aggressive character portrait of Charles Harvey Pepper by Carl Gordon Cutler, is at a sacrifice of manner, beauty, and style, a searching human document.

Among the sculptures one notes particularly Mr. French’s Lincoln, designed for Lincoln, Neb.; a version of the “Nathan Hale,” by MacMonnies; Paul Manship’s “The Shepherd David”; Mr. Laessle’s “Drake Fountain,” arranged in a beautiful realistic setting and “Adolescence,” by Bessie Potter Vonne’s.

The etchings and drawings are by far the most impressive and representative group of black and white that has been seen here. The group of six grandiose landscapes by Roi Partridge share with Pennell the honors. Notable groups are likewise contributed by John Taylor Arms, George Bellows, Frank W. Benson, Alfred Bentley, R. E. W. H .W. Bichnell, Mary Cassatt, Sears Gallagher, Anne Goldthwaite, Lester Hornby, Haydon Jones, Lee-Hankey, Ernest Roth, D. C. Sturges, John W. Winkler, Charles Woodbury, and Stanley Woodward.

Concord Art Show
Opens E. C. S.

Concord, Mass, May 13 [Special] - The sixth annual exhibition of the Concord Art Association, now open in the Town Hall, comes up to the high standards set by this association in past shows. It might even be maintained that this annual show is the most interesting single exhibition of the year in Massachusetts, for none other brings together such a large and varied group of paintings, sculptures, and etchings. In every instance, one feels sure, the artist is represented by his best work, and such results are to be obtained only by an energetic organization. One cannot doubt that here is a live art association after seeing this show and taking a look at the early eighteenth century house that the association is to transform into its headquarters with a large gallery of its own, just as the Provincetown Art Association did last year.

There will be satisfaction for a great many artists in the news that the association’s secretary, Miss Elizabeth Wentworth Roberts, receives the first award this year, in the class for drawings, for her “French Peasant,” in which strong characterization is attained without getting beyond a certain reticence of delineation. One considers chiefly the attainment of a beautiful whole with a great economy of means. One feels that there is as little as possible between subject and observer, even while conscious to some slight degree of the accurate, imaginative use of line.

__________

There are nine other exhibitors of drawings, each of whom shows good work. Of particular interest are the portraits by Bradford Perin of Miss Clare Eames and Edwin Arlington Robinson, Alexander R. James’ “Head of a Man,” and Stanley W. Woodward’s “The Fur Coat.”

Among those at the private view there was no surprise that the first award for paintings went to Charles W. Hawthorne, for his “portrait of Evelyn Chambers,” which catches one’s eye as soon as the hall is entered, and which calls the visitor back again and again to enjoy its power and beauty. This painting may well come to be known as Hawthorne’s Blue Girl. The subject is a quizzical little girl, seated. The accessories are all painted in such a summary way that imagination is bestirred. This youngster, perhaps, sat down for a moment on a shoulder of towering greenish-brown boulder, with a tiny spray of yellow flowers in her clasped hands, and telling brilliantly against the glowing dark blue of her dress. Even darker blue is the bit of ocean seen over the left edge of the boulder, with a romantic schooner sailing by. Here is an original picture. It is not like other Hawthornes, and no other painter could have done it.

Leon Kroll’s large canvas, “The Visit,” has much charm of color, and though the interest is pretty well scattered among the dozen picnicking figures the parts have an uncommon interest and are finely done. With a touch characteristic of a specialist in still life, Mr. Kroll paints the texture and hue of many fabrics. There is life in this painting. One could almost make up a story to go with it. Perhaps it has a program like descriptive and satirical music. Another admirable example of a painter’s skill and taste is Charles Hopkinson’s “Portrait of Miss Elizabeth Caswell.” Here everything is considered in relation to the tenderness of a head that is all delicate nuances of form and tone. The girl’s dress is a marvel of opalescent scheen and the tonal scheme of the wall and furniture in the background is green and blue, all kept cool that the warmly painted head may tell without the forcing of a note.

The list of interesting pictures could be given at considerable length, but special mention would have to be made of Robert Henri’s “Spanish Girl,” with its elemental beauty and strong simple color arrangement of dark hair above the olive face, and the rosetted black shawl over the dark green dress. Here is no model, but something of Spain itself. W. Elmer Schofield and Gardner Symons show two handsome landscapes in their characteristic veins. Aldro T. Hibbard has a winter scene. “Near the Mill,” which is of much interest in pattern and color. Among many others one pauses rather long before Walter Ufer’s “Jim and His Daughter,” Alice K. Stoddard’s “Captain John,” George Bellows’ “My Mother,” and Marie Danforth Page’s “MacAuliffe.”

The etching section contains 140 prints by 42 exhibitors. Joseph Pennell received the first award, and makes a striking showing with his “Castles of Work,” “The Woolworth Through the Arch,” “Old and New Mills” and five others. Roi Partridge is represented by six prints including his “Mills Hall,” which was awarded first prize at the International Print Makers Show this spring in Los Angeles.

Mary Cassatt’s etchings vary from one or two that are consummate in their handling of line to one or two that are curiously uncertain in drawing. There is something of classic beauty of truthfulness in W. Lee Hankey’s “Mère et son Fills,” and Anna Goldthwait’s pictures of children. Charles E. Heil carries over into etching the elements that have long characterized his exquisite water color drawings of birds. There is humor and action in Ross Santee’s western subjects, Dwight C. Sturges “Monday Morning” is amusing and strongly decorative, George Bellows’ satirical “Benediction in Georgia” provides a powerful note. Alfred Bentley’s landscapes are spacious in their charm, and one is reminded once more of the marked talent of Ernest D. Roth for architectural themes.

The case of miniatures is of interest, and there is a small sculpture section containing several notable familiar figures such as French’s “Lincoln,” Cyrus E. Dallin’s “Appeal to the Great Spirit,” Anna Vaughn . . . “Police Dog” and R. Tait Mc . . . powerful football group, “ . . . slaught.” Charles Grafly’s . . Frank Duveneck is a large . . . in a large way. Here . . . giving of a kindly, hearty . . . all alive and strongly self- . . . ized by many years of aesthetic endeavor. E. C. S. [The end of this clipping torn and missing.]

Tuesday, May 16, 1922

Catchall,

Lowell Courier Citizen,

I was at Concord on Saturday last, to attend the press view of the sixth annual exhibition of the Concord Art Association, now open in the town hall. I advise your going, if, or after you have seen our little exhibit at the Whistler House, just to get an idea of the kind of national art show which an energetic committee can bring together in a town like Concord. The plan there, of course, is different from the one which prevails in Lowell, as in most New England places, of a local neighborhood display. The Concord association goes out for examples of the best that is painted and sculpted in the United States and it gets very many of them. I saw on the walls good canvases by George Bellows, Charles W. Hawthorne, Robert Henri, Wayman Adams, Mary Cassatt, Daniel Gabor, Leon Kroll, Elmer Schofield and many others whose work now figures conspicuously in such exhibitions as those of the National Academy of Design and the Pennsylvania Academy of Fine Arts. If you are not familiar with the kind of thing now usual in the big exhibitions of New York and Philadelphia I especially counsel your making the pleasant trip over to Concord this month. The exhibition continues through May 29.

Monday, May 15, 1922.

H. P. Boston Evening Transcript,

Exhibition at Concord.

Notable Array of Paintings, Sculptures and Etchings by Well-known Artists Make Fine Showing.

Art Work Featured with the Review: At the Concord Art Exhibition. “Morning Light,” by the American Landscape Painter, Gardner Symonds, on Exhibitoin at the Sixth Annual Exhibition Which is Being Held in Concord.

The handsome old town of Concord, looking like a bouquet with all the spring blooms, is an appropriate setting for the arts and doubly worthy a visit, for, besides the pastoral charms of this town of revolutionary fame, an exhibition that presents a good deal of talent is being held in the Town Hall.

The hall is attractive with the pictures that have come winging in from all points of the compass, well placed bronzes, and even a fountain with real green things growing; besides, what would alone repay one for the trip, is a room wholly devoted to etchings.

One of the most notable paintings is by Walter Ufer, and is an interesting recording of Indian life in Taos, N. M. It is a “close-up” of “Jim and His Daughter,” who are seen in the clear, brilliant light of the Southwest.

Worthy a home in a museum is Mary Cassatt’s “Mother and Children,” loaned by Durand Ruel. It is a well-known picture painted in 1908, when the artist now advanced in years, was at the height of her career, and her fine sense of color and ability to portray child-life are fully displayed.

Hanging on central wall, is John C. Johansen’s stylishly painted full-length portrait of Alexander W. Drake.

By Robert Henri is a canvas handsome in [tone?] called the “Spanish GIrl,” the flesh registering in pleasing manner against a warm gray background. It is an excellent example of the painter at work.

Wayman Adams’s portrait of Edward W. Redfield, the painter, shows the subject at work out of doors in winter, palette in hand. It is spaciously painted, a big vigorous characterization, the head well studied, and with a lively background that is not too prominent.

Charles W. Hawthorne’s portrait of Evelyn Chambers displays that clever technician’s ability to state only what he deems necessary to heighten the pictorial subject, and while it is striking is lacking in the well-studied parts that are conspicuous in the work of some of our veteran Boston painters.

A handsome landscape by Gardner Symons, showing a river winding through a snow-bound valley, is typically American in subject and in the breadth of treatment that distinguishes the work of our best known landscape painters.

George Bellows’ portrait of “My Mother,” seen recently at the Boston Art Club, looms up big and vigorous.

Maurice Fromkes’s “California Poppies” is beautiful in [factoze?] of pigment. John F. Folinsbee’s “Frozen Canal” and Hugh Breckenridge’s “Pirate Chest” are good examples of these painters’ work.

Eugene Speicher has a lively “flower study” and John Sloan a decidedly morbid landscape.

Turning to painters nearer home, Ambrose E. Webster gives a spontaneous registration of color in strong sunlight in “Paw-Paw, Bermuda.”

Margaret E. Brown’s “Still Morning” stands up well under the trying cross-lights of the hall.

One of the surprises of the show is Mary L. Ayer’s “Girl with Fruit,” looking as though painted by a veteran exhibitor.

“The Captain,” by Gertrude Fiske, newly elected to National Academy, is an excellent study seen before.

Elizabeth W. Roberts, secretary of the Concord Art Association, makes an interesting essay into portraiture with her study of Edward A. Newell, Esq.

Carl Gordon Cutler’s Nude study of “Bathing Girls” [listed in the catalog fails to appear on the walls; possibly Concord is too far from the sea for bathing girls or they may be too seductive for virtuous eyes, however the nude figure is to be seen in several of the sculptures about this hall; no doubt, and quite rightly the committee decided that New England virtue is most secure when cast in bronze.

Charles Hopkinson’s portrait of Miss Elizabeth Caswell, evidently painted some time ago, is interesting to see in the light of more recent work.

Aldro T. Hibbard’s “Near the Mill” is a handsome landscape full of crisp notations of color and form and of movement of flowing water.

Gertrude Nason shows her well painted “Girl with Gold Fish.” William J. Kauia exhibits a large landscape, “Early May”; Elizabeth Paxton an interior “Breakfast Abed” and Alice Ruggless Sohier also an interior -”Two Windows.” By Giovanni Troccoli is the “Yellow Jacket” presumably a self-portrait. Cornelia Whitehurst has a dashing portrait of “Little Mary,” and Robert Strong Woodward a good landscape, “Lingering Drifts.”

A well painted still-life is by Blanche Ames. Charles Bittinger shows an interior called “Madame DuBarry,” Henry H. Brooks a large decoration in black and white , and Sidney Chase a scene that is true to the Maine coast. Theodore Coe has a sprightly landscape and Marjorie Conant an excellent portrait of “Mlle Lili.”

There is quite a showing of miniatures, the Boston painters who are represented being Lucy M. Straton, Sally Cross, Margaret F. Hawley, Annie H. Jackson and Evelyn Purdie.

In the room devoted to etchings is conspicuous George Bellows’s dramatic “The Murder of Edith Cavell.” By Mary Cassatt are twelve very handsome prints, some of which are in color. Frank W. Benson has a fine group of six. Dwight Sturgis makes a vigorous showing, and Charles H. Woodbury and Joseph Pennell add their names to a distinguished list of contributors.

Ross Santee of New York shows some excellent studies of horses; Roi Partridge powerfully drawn tree forms; Carl J. Nordell “The Eel Trapper,” and W. H. Bicknell, Lester Hornby, Hayden Jones, Sears Gallagher each have groups. From England come prints by Lee-Hankey and Chelmsford Bassett, and from Paris, impressions by Louis Orr.

Conspicuous among the sculpture are Charles Grafly’s bust of Frank Duveneck, Albert Laessle’s “Drake Fountain,” Paul Manship’s “Shepherd David” and Malvina Hoffman’s “Offrande.” Maomonnies is represented by the original study for his statue of Nathan Hale, Daniel C. French by study for statute of Lincoln, and Cyrus Dallin by the “Appeal to the Great Spirit.” Gertrude V. Whitner, Bessie Porter Vonnnoh, R. Tait McKenzie and Walker Hancock are among the other sculptors who have notable work.

The exhibition is free and will continue until May 29. H. P.

Attached to the newspaper article: Awards At Concord

___

Honorable Mentions Given in Sculpture, Painting, Etching, and Drawing

Five honorable mentions with certificates were awarded by the jury at the current exhibition of the Concord Art Association--in sculpture to Charles Grafly for his bust of Frank Duveneck; in oil painting,to Charles W. Hawthorne for his portrait of Everly Chambers; in miniature painting, to Margaret F. Hawley for her portrait of Mrs. Sawtell; in etching to Joseph Pennell for his group of prints; and in drawing, to Elizabeth Wentworth Roberts for her study of a french peasant.

Concord Art Association

Sixth Annual Exhibition

Town Hall, Concord, Mass.

Paintings, Bronzes, Etchings

By Adams, Bartlett, Beach, Bellows, Bicknell, Cassatt, Dallin, French, Garber, Grafly, Gallagher, Hawthorne, Hopkinson, Hornby, Henri, Hoffman, Hyatt, Laessle, Lee-Hankey, Manship, MacMonnies, Pennell, Proctor, Roth, Schofield, Symons, Sturges, Verrees and Winkler

May 14 to 29

Admission Free

New York, May 20, 1922.

American Art News.

Woodward, Sidney.

The Concord Art Association’s sixth annual exhibition at the old Concord Town Hall includes work by leading artists from many parts of the country.

The jury of awards, Charles Hopkinson, chairman, awarded four honorable mentions with certificate. Charles W. Hawthorne received the first prize with his portrait of Eveyln Chambers. To Elizabeth Wentworth Roberts went the award in drawing for a Holbein-like pencil portrait of a French peasant, to Joseph Pennell was awarded a certificate for a group of eight etchings and to Charles Grafly went another for a sculptured bust of Frank Duveneck.

Gardner Symons sent “Morning Sunlight,” familiar to New Yorkers, a handsome portrayal of New England scenery. Elmer Schofield’s contribution is a powerful marine, “Cornish Coast.” There is an excellent Robert Henri canvas, “The Spanish Girl,” and nearby is a portrait of Alexander W. Drake by John C. Johansen, with a background of dull bronze and copper utensils on the wall adding notes of color. In the elaborate catalogue one observes Charles Cutler’s picture is entitled “Bathing Girls,” Whether it was the subject or the treatment that made the committee members change their minds we do not know, but it was not hung and in its place reposes a portrait by Cutler of Charles Hovey Pepper.

Charles Hopkinson’s portrait of Elizabeth Caswell is a gem. It has been seen before locally. The painting of the little girl’s white blouse, in a sort of opalescent sheen is a marvel of dexterous brush work. Special mention should be made of Leon Kroll’s out-of-door figure, “The Visit,” with real green grass. Mary L. Ayer’s “Girl with Fruit,” “An Old Stage Coach” by Felicie Waldo Howell, George Bellows’ commanding portrait, “My Mother”; the riotously colored canvas, “The Pirates’ Chest,” by Hugh Breckenridge; “The Captain” by Gertrude Fiske, “The Dark River” by Daniel Garber, Walter Ufer’s clean-cut dramatic rendering called “Jim and His Daughter,” a Whistleresque portrait of Edward H. Newell by Elizabeth Wentworth Roberts, and “On Carter’s Notch,” a first rate landscape by Charles Curtis Allen.

The exhibit in black-and-white includes fifty-two exhibitors and 155 drawings and etchings. Roi Partridge’s group of six large spectacular landscapes, one of which recently took first prize in the Print Makers’ show, Los Angeles, attracts deserved attention. Two drypoint landscapes by Alfred Bentley are likewise superb. Dwight C. Sturges shows his latest characterization on copper, called “The Washerwoman.” Stanley Woodward shows two dry-point landscapes recently off the press. Excellent groups by John Taylor Arms, George Bellows, Frank W. Benson, W. H. W. Bicknell, Theresa Bernstein, Mary Cassatt, Sears Gallagher, Lester Hornby, Haydon Jones, Lee Hankey, Joseph Pennell, Ernest D. Roth, J. Paul Verrees, John W. Winkler and Charles Woodbury are also shown.

Tastefully arranged under the existing conditions are the works of the sculptors. The twenty-two pieces in bronze are contributed by Paul W. Bartlett, Chester Beach, Cyrus E. Dallin, Daniel Chester French, Charles Grafly, Malvina Hoffman, Anna Vaughn Hyatt, Paul Manship, Frederick MacMonnies, R. T. McKenzie, Bessie Potter Vonnoli and Gertrude Vanderbilt Whitney. The exhibition continues through May 29.

List of Participants [from the Woodward newsclipping. American Art News, Saturday, May 20, 1922.]

The exhibit in black-and-white includes fifty-two exhibitors and 155 drawings and etchings, included: