Paul Thévenaz, a record of his life and art together, with an essay on style by the artist, and including 107 reproductions of his drawings, paintings and decorative work

Texte intégral

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(8) PEACE "If 'hen I. am. crucified. Hill the strange god be. his brow, peace?". upon at. — From. "Thb Belovid. Stbanceb.'.

(9) EVENAIr \ RECOED OF HIS UFE ANDAET lOStTHER WITH AN IS SAT ON STYLE BY IHE ARTIST ;VND INGlUElNGr^. lOI. EEPRODUCnONS 9F fflS DRAWINGS, PAFNIINGS DECORATIVE WOE!. PRIVATELY PRIMTED. JBZZ.

(10) COPYRIGHT 1922 BY. ALICE. DE LA. THE EDITION. IS. MAR. LIMITED TO. ONE THOUSAND NUMBERED COPIES OF WHICH THIS IS N o. d^l'k. V.

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(14) riii>Tn»,R. *rH n^. mxrcia stein. PAUL THEVENAZ.

(15) THE ARTIST. and HIS. WORK.

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(17) PAUL THEVENAZ THE ARTIST AND HIS WORK. "^^^^Ô ^. j. ^^^. inherently. the. home. one's. work. Thevenaz was born 22, 1891. of the. at. beautiful these. flaming. in. homes. the clear heights. The. crystal lakes of Switzerland,. behind. sunrise,. glistening,. peaks, white rushing torrents, emerald. burning into. of. mountains, his very soul was immersed. Swiss. vivid flowers. of. Geneva, Switzerland, on February. His childhood, spent. in nature's beauty.. the. decoration. Thevenaz, mural decorator.. Paul. of. the. perhaps the most absorbing. To make. thoughts.. all. was the. is. artistic,. —. all of. fields,. towering carpets of. these indescribable influences were. his sensitive appreciation.. [. '. ]. He. no doubt.

(18) PAUL THEFENAZ inherited diverse artistic tendencies. to gratify. by. travel. and arduous work. and then proceeded. First he visited Italy. The. study and earn his living. difficult one, a. me. "It did. These he sought. hand. to. mouth. to Paris to. struggle there was a. existence, but he said,. good.". was there Thevenaz gained recognition as a portrait His work was distinctive in two ways, there painter.. It. was much elimination. background, and more pure. of. likeness put into the portrait.. During these six years in Paris, the pre-war cubistic movement was strong enough to claim him, in so far that he. became known. as a Crystalist, a Prismatist. and. He met Igor Stravinsky and Jean Cocteau, both whom became strong influences in his artistic de-. so on. of. velopment.. They endeavored. to teach. him. that art. not a dramatic, hair-raising performance, but subtle In. long talks with Stravinsky, he became conof the necessity for. the knowledge of Geometry,. mathematics, and the absolute mastery. A. of. humor, and very dependent upon hard work.. his. vinced. full. is. thorough grounding. in. of. technique.. Dalcroze's Rhythmics, at.

(19) PAUL THEVENAZ r. Music. his school of. Switzerland had laid the founda-. in. tion of a clear musico- rhythmical. carried through. work.. his. all. knowledge, which he with. In collaboration. Stravinsky and Cocteau, Thevenaz was devoting his energies to the production of the ballet, which. was. destined never to be given, on account of the breaking. out. of. the great war.. During. his training in the. of necessity. stood. American Army. Since the ending. still.. Thevenaz devoted himself. One. finds in. youthful surroundings, education,. all. Thevenaz. said:. ration it. is. is. a. the. "No. the glory of his early. rhythm. musical. of a. highly educated '. It is. life,. it. answers to a need and. A. painter of the Re-. naissance would not have painted a. Church had expressed a -3. an education. the only honest and satis-. someone's wishes.. [. deco-. is,. and the higher mathematics,. factory form of art because. the. of his. matter what the subject. for the 'non-educated.. tries to fulfill. became. It. the art of his creative genius.. related to music. part. all. it. all. the war,. of. entirely to his decorative. work, and labored rapidly and untiringly. his creed!. work. his. Madonna. desire to worship. ]. unless. it.".

(20) PAUL THEFENAZ This desire. work. to. please. —. willingness to adapt his. this. — did not frighten Thevenaz, a modern. in the successful. characteristic rare. Thevenaz. painter.. "The educated. rather than lose by this, he gained. artist of. today knows too much" he. that. felt. said,. "and. in too. subjective a way.". "By doing tations. by. decorative. work the. artist. his customer's tastes or wishes;. his personality into the. given. is. new shape every. limi-. he has to. fit. time, thus en-. means of expression and discovering that not the enemy of style, but quite the contrary, If one has personality it will come out, no. larging his variety its. is. friend.. matter what one does.". The. we. things that. live. with are the things that. we. should grow to love, and so in these creations Paul. Thevenaz found the one. who. is. work a. his. serious attempt to please. than just "painting a picture.". home. lover to. fill. He. his dwelling with. unfading beauty. whatsoever phase that he. To him. to dwell with them.. He it. tried to. felt. beauty. — an untiring,. meet that aspiration. was not painting a canvas. +]. was more. the desire of the. might be expressed.. [. it. to be. He. in. realized. hung,. first in.

(21) PAUL THEVENAZ one room, then. another; but, with the architect,. in. making his wall a veritable part of the house itself. There must be no monotony, no false note of color, no undue proportions "I. believe,". —. all. must be harmonious.. Mr. Thevenaz, "that decoration. said. is. the most abstract form of art, the most musical, the most creative.. That. it. requires. more knowledge than any form. of. landscape, or. In the exquisite. on. combinations, one. of. intelligence,. more. tact,. specialization in a particular. or portrait.". still life,. harmony. tones, the laying. more. of colors, the use of brilliant. pure paints, the vivid daring. feels the intense. joy of the painter.. summer home of Mrs. Frederick Havemeyer on Long Island, in a spacious marble dining room, Mrs. Havemeyer requested Thevenaz to paint a nineteen-foot In. the. frieze. "It. on white. was. oil-cloth.. ice-skating. like. Mr. Thevenaz.. with. red. hot skates,". In soft pastel tones, the. and broken skyline. of. tall. Manhattan appear.. If. said. buildings. one has. caught the red glow. crossed. the. reflected. upon gold towers and myriad window panes,. ferries. at. sunset,. he has also seen the ugly docks and piers transformed [. '5. 1.

(22) PAUL THEFENAZ between the dark water. into soft blending spots of color. and the jagged background liners. With. and. little. infinite. is. up and down. patience Mr. Thevenaz persuaded on the glazed white. surface,. his. and. unique and altogether stately and pleasing.. Another masterpiece in. skyscrapers, and the. craft sailing. colors to remain fixed. the result. of. the. is. Mrs. George Blumenthal's. swimming. private. New York. pool. home. The bare. walls surrounding the pool have been transformed into. a gorgeous, poetic sea garden.. an. Against tone,. background. aqua-marine myriad-colored. float. shoals of deep-sea. fish, tall. sea. of. undersea. anemones, glittering. irridescent water flowers,. great jewelled shells and dreaming mermaids with long tresses of. blues,. seaweed texture.. and rythm. in. Corals, greens, pinks. and. every detail!. Here a phantom ship appears wrecked upon rocky depths, in a vivid mass of star. octopus to. coils. fish.. and uncoils below a. A great translucent. little. sea child clinging. an overhanging rock and gleefully deriding. In this. swimming. Thevenaz. pool, as in. much. of his. all. danger.. work, Mr.. revelled in the exotic, the foreign, the imagin-. [. -6. ].

(23) PAUL THEVENAZ ative!. .\%. Chippendale,. to use the. best of. modern painter as. all. in his. countries and. of the foreign,. known the. to achieve. new. By. effects.. far as expedient, all experiences of the past,. anachronisms, knowledge. of nature;. whatsoever. of. he infused into one painting. musical. varied. periods, so this. believed in a mixture of decoration, not. an aim, but as a means. employing so. master conceptions, dared. instruments could. bring. that. all. into. a. symphony.. Thus he. with. collaborated. great. the. Tiepolo. of. centuries ago, in painting a ceiling for the open Casino. on Mr. James Deering's estate. and. gallery, original. and. in. Miami.. The. walls. restored, belong to the great. Thevenaz has completed the ceilings with the singing ladies and gay cavaliers of Eighteenth master, and. Century. Very. Italian. charm.. modern, and thoroughly expressive. of. subtle. humor is his decoration of a private moving picture ballroom on Long Island. About the oblong room, between delicate pink columns,. appear decorated panels done. alternately in charcoal. and. characteristic. and. familiar,. I. -7. colors.. Charlie Chaplin,. accompanied by the well 1.

(24) PAUL THEFENAZ Purviance, Coney Island and the cop;. known Edna Theda Bara. reclines. upon a couch surrounded by. suicide lovers.. In the. New York. harbor, the most daring of aviators. hangs by a rope ladder rescuing the lovely Pearl White, while William. Hart,. S.. Mary. Pickford and Douglas. Fairbanks each appear with unmistakable personality.. The. alternate colored. Final Kiss" of. The. coloring.. in. —. in. panels are fanciful. and vivid. everloved Punch and Judy. —"The. charming Tyrolean costumes, and others. equal charm.. To. children. light.. Paul. Thevenaz. is. A. pictures.. winsome pink lady. in. a jade green parasol and wanders. and. de-. In a most original nursery, designed by Mrs.. Ruby Ross Goodnow, Thevenaz covered the walls with his own. posies.. an unexpected. A. has. enchantingly. ideas of. childhood. her garden carries. among. her brilliant. sturdy farmer grows his gorgeous pumpkins. carrots, a valiant hunter in sola toupee,. an African. jungle; lions, elephants, automobiles, ships of adventure,. spouting whales, locomotives and Esquimaux, each given. its. place.. Above them [. floats a. ,8]. is. phantom balloon.

(25) PAUL THEFENAZ with "Vive child. France!" to arouse their curiosity.. la. What. could be anything but happy with such com-. panions.. Whether. it. be a long drab hallway transformed in-. to a gallery of. poetic. ery. —. panels. —each. a. charming picture. and romantic as a Fragonard, or a its. walls. metamorphosed. Mother Gooseland— it makes no is. equally fascinating.. into. a. — one. child's nurs-. fairyland. difference;. or. either one.

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(29) T Y R A V AN ESSAY BY PAUL THEVENAZ I. f>i. '. 1)1. i>iiiitiiiijr J">'ilfJ). Igor Stravinsky once told me, le. public. te. ''. iiui *. i^yiTfiijni". J •. I. I. n,t^. "Ce que. reproche, d'eveloppele, c'est toi.". ^Y struggling against one's fault one does not. reach anywhere.. ing. boihng. it. pot.. It is. smothering. it. and giv-. more power Hke putting a cover on a. Open. Let the steam come out and. it.. use this power by adjustment. But, although limitation to reach style. and means.. and keep. Most. it. artists. is. style,. it. would be. through variety. better. of expressions. reach success through doing. They develop a "personality" by exaggerating some tricky way of doing one thing and usually overdoing it. They would think the. same thing over and over again.. I. ''. 1.

(30) PAUL THEVENAZ themselves dishonored to sign their. from the easy routine. different. They. name on. of their. a thing. own.. hold to their "personality" as they would walk. on very thin. ice. not daring to do anything that would. and. let. the under-water play freely.. break. why. it. there are on exhibition a display of. skillful. techniques.. Without. This. more or. is. less. object they belittle the sub-. would not change. ject of their pictures; but they. it. for. anything, because their means do not allow them to do. so.. me. It. seems. it. will. it. would improve greatly through the greatest variety. to. that. one. if. has a real individuality. come out anyway, more. or less successfully, but. mediums and subjects possible. Most of the artists are too much specialists. They go on a track like a railroad train. They are very much troubled if a wheel of. slips out,. while they ought to be glad.. but a field of experiences and the more. None. better.. thought nality.. of. of. wearing the proud corslet. They. tried very hard, as a. as well as they could. ordered a. pre-Renaissance. the. Madonna. and. satisfy. is. nothing. we. get the. Life. of a. matter. artists. strong origi-. of fact, to paint. Mr. Medici, who had. for his family's chapel.. [. ". J. ever. This did.

(31) PAUL. H E V E N A Z. T. not prevent them from doing great things that have a. meaning and can stand. criticism on. any point. of view,. even Hterary and sentimental.. When on a. see a. I. plate,. I. man. painting very successfully a pear. admire. his. technique.. His. means. of. way of getting out of a plain harmony of rhythm, poetry and. expression, his marvelous subject such a refined. But the aim. geometry.. might. be,. is. of art,. certainly not that.. all his life. way. and make a. human. If. the artist. limited. is. brilliant career of. ought. But. it.. is. this the. If. he deliberately limits himself to such works of. a. life. to be. spent?. a lazy dilettante and no. art,. more worthy consideration than a singer who would limit himself singing notes and scales.. then he. is. Perfection has been reached on. but his. — and. still life. this. to. of. to. that line by Chardin,. paintings are not his only. title. to. fame. very perfection ought to have done the job. for his successors.. tain. it. go on painting pears on. to that sort of thing he will. plates. whatever one thinks. One. does not climb about a moun-. where a funiculaire can take you unless one wants. do. it. for the personal fun or the physical. [. ^3. ]. training..

(32) PAUL THEVENJZ The. today has the priceless advantage. artist. experiences of the past Masters. perfect. knowledge. of. them and. of. He. should have a. all. that which has. been learned through the centuries. freely. and. He. should use. tactfully the various lessons of the past,. by placing. new. of all the. aim further and higher, try. his. ideas through the. infinite. variety. of. and. to express. means he. should possess instead of merely developing petty personal tricks and repeating the again.. The "heirlooms. moseleums. of art,. same thing over and over. humanity," museums, those. of. would not be so absolutely dead. people could realize that the past. more.. If. artists. would dare. to be. is. if. not the past any. romantic with Dela-. when they have something romantic to do, classic when need be, and primitive when they want to! Why croix,. should not an. artist, free of. tion, use in the. Watteau's. would not. prejudice and self-admira-. same composition, Tiepolo's. distinction,. fantasy,. and Monet's discoveries?. He. own personality, but he something new in art, tact. He. lose a particle of his. would have. to. would not have. use. to copy, but simply,. even as the. latest. discoveries in electricity are applied to every use, he. [. ^4].

(33) PAUL THEVENAZ would use Tiepolo's, Watteau's and Monet's experiences, thus doing them honor, bringing them back to Hfe, and gloriously giving. would not be. so far. their labor. away and. new. fruits.. The. past. the present would be. richer.. Artists perfect. would then need intelligence and absolute and sense of rhythm, poise and tact. They would. find out that they lacked these qualities start out to. tion for. develop them.. them and. and they would. would be a new educa-. It. for the public.. It. would link together. the different flowers of our civilization. now. scattered. and dry throughout the whole world and throughout time.. Anachronism and exotism ought to be conquered; then there would be no more anachronisms and exotisms, because by destroying time and space in reality? arrive at such a practical all. and simple way. the works of the dead. of. we should. dealing with. and the foreign that there. would not be any more uneasiness or self-consciousness; thus no artist with a real personality would be deprived of. it,. and. suffer.. local color or racial characteristics. We need. perfect assimilation. [. ^5. ]. would not. through rhythmic-.

(34) PAUL THEVENAZ al. education, serious technical. mental. training and. clarity.. Quality cannot be annihilated.. It will. the sparkle of divinity that will give. Should stead. absolute. it. of. not be used to give. being wasted so. life. come. life. to. out.. It is. any work.. to better things in-. prodigally as. it. is. now.'^. Through mastering all style and manners, the artist of today knows too much to forget, and not enough to generalize, too much to be unconscious, and not enough to be. unconscious again.. tend not to. know. in. He must. all. him. to pre-. influence to. acquire more knowl-. order to grasp the ensemble of the world's. knowledge, and extract from beauty.. foolish for. anything, and escape. create something new.. edge. It is. it. the leading principle of.

(35) PORTRAITS.

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(37) SELF PORTRAIT,. I. ';. I. 4.

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(55) '. wi^ J^-^. -I. !. \. ra.. MRS.. () I. II. N. A L D E N. C A R. I'. K. N T. 1.. R.

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(73) DRAWINGS. and. PAINTINGS.

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(84) TVRni. FAN. FANTASY.

(85) T. II. r. FIN. A. I.. KISS.

(86) THE PURITAN.

(87) 1. II. I. I). I.. 11. I. 1. A N T E.

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(89) L. F.. I. A U. I). I. N. 1). A. M O U R.

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(92) L. K. R. ft. V. !•.

(93) I.. i:. \. O Y A G K U R.

(94) TOUTE. LA. NUIT. JAl. LUlTt. AVEC. L. AMOUR.

(95) L A. T A M. !. !•:. T E.

(96) ISRAFEL. (unfinished SKETCH).

(97) A N G. i;. I.. (. U N. 1. I. N. I. S. H. I-. D. S. K. I-. T C. 11. ).

(98) E. Q U. E S. T. RIENNF (unfinished sketch).

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(100) I,. E D A.

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(103) N A. S. T n K T. I. II. M. S.

(104) SNAP. S. H O. T. FLORIDA.

(105) FLORIDA JUNGLE.

(106) FLORIDA SKETCH.

(107) F. I.. n R. I. II. \. I. U N C. I.. F..

(108) I. I.. I.. I'. S. T R A T. I. (). N. r. (). R. A. SONG. R O. (). K.

(109) >«>. «. 3^5. o , ^. I. L. I,. U. S. I". R A. r. 1. (). N. K. O R. A. S. O N. Ci. B. O U K.

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(111) THE YOUNG. C. II. K. I. ,S. T. IN. 1. H. li. TEMPLE.

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(113) COSTUME SKETCHES.

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(115) ,. c. 1. 1!. A. I-. '. '. •'". GUAR. 1).

(116) DOMINO.

(117) ,^. S. A. I. I'. M. !;. ''VtNa vl^-o<7.. v.

(118) ?. ^. V •^. ^h^ <^^ COSTUMU SKETCH. V-€'v.^«^'.

(119) MURAL DECORATIONS.

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(121) —T Z/. .^V^ *'. ..'^. n. E. S. I. f;. N. FOR. A. C U R T A. I. N. /-.

(122) M. U R A. I,. DECORATION FOR ORIENTAL DANCE. A. T H F A T R. F.

(123) I'. I. M. K R. 1. II. R A. O T I.. ,. 1). C i;. (). f. I.. <). I!. M. R A T. I!. 1. I. (). N N. A N. I-. I. O R. |i. \. 11. A. I. R II. I. I. 1. A. y H 1. R. I. P.. N.

(124) S. K E T C n. F. OR. A. THEATRE.

(125) —. FOUNTAIN. STTPS. SKKKII. lOK. A. .SCRKl-.N.

(126) MURAl. PFCORATION FOR THK SVVIMMINC POOL OF MRS. (iKOROE BIAJMKNTHAI..

(127) II. 1,. I-. 1. (). A II. R r. MRS.. i> II. c;. M r. K S. i:. 1-.. I). \V. R. I. Cj. R A. 1-:. 1). I. M M B. N. I. I,. i;. U. c. r. {;. M. (). o. E N. K A () I. I. 11. (). I. <i. I. A. 1,. I.

(128) MURAL. SWIMMING THIi DliCORATION IN OF MRS. GHORGli BLUMENTHAL. TOOL.

(129) THK. DISIMBARKATION. — ML RAL. DiaoRATION.

(130) ^.s».. MURAL. D. 1-:. C O R A. 1'. I. O N. CHARLIE. f. H A P. L. I. N.

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(132) /. '-^,. L-. —. -vS.. "^r '"^•^y. J. ^^. v^. k. MURAL. UECORATUIN. — WILLIAM. S.. HART. ^.

(133) —. ^^^. ^^-*.>,^^. ^. "^. >. >^. MUKAI,. mXORATlON. UOLUil.AS. lAIRlSANKS.

(134) iM. U R A. 1,. I). i:. C. (I. R A. 1. I. O N. 1. UK. A. 1'. I.. A V. K O O. M.

(135) M. II. R A. I,. I). 1-. (. (). It. A T. I. I). N. I. (). K. A. P. I. A. \. K. D. I). M.

(136) MliRAI.. Dl.CORATlUN. lOR. A. I'l.AY. K()(iM.

(137) MURAL. Di;C()RA'I. ION. 1. OR. A. PI,. AY. ROOM.

(138) M. 1'. R A. I,. n r C O R A T. I. (1. N. FOR. A. I'. I.. A V. R. (1. n. M.

(139) MURAL. D t C O R A T. I. O N. —. 1'. L A. 'S. ROOM.

(140) TROPICAL BIRDS. — SKETCH. FOR A SCREEN.

(141) ORPHEUS.

(142) '^'W. M. 11. K A. I.. n. !;. C. O R A. T. I. O N.

(143) U R A. I,. I). K C. <). R A T. 1. O N.

(144) BLIND man's buff. (. M U R A. L. ).

(145) THK ARTS MIRROR DECORATriON KOR. CiUlLI). EXHIBITION.

(146) Z-^t;^. DESIGN FOR. A. MIRROR.

(147) DESIGN. I-. O R. A. M. I. R R. (). R. (. I). !;. l'. A. I. L. ).

(148) A. I-. R E. S. LA. 1>. L. U. I. K. L. E. BEAU TEMPS.

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(152) C. H. K R u n.

(153) K. C. 11. 1. RUB. •. <?'•.

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(157) SKETCHES. ami. UNFINISHED DRAWINGS.

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(159) S. K. K. T. C H.

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(162) SKETCH.

(163) SKETCH.

(164) S. K. L.. T. C. H.

(165) l'. ISO. I,. 1. '. i;.

(166) ILLUSTRATION.

(167) M. I. N. S. I-. R. !:. I-. S. II. (). W.

(168) S. K. r. T. ('. II.

(169) ——————. ———. — —. CONTENTS Four. Portraits of Paul Portrait, 1920. At Work At Play. Variety. Frontispiece. Painted by the Artist. Snapshot. Photo by Alice Boughton. Portrait, 192 1. Paul Thevenaz. Thevenaz. Portrait by. Marcia Stein. —The Artist and His Work. -. -. -. — An Essay by Paul Thevenaz. Reproductions of the. page 29. Artist's. Work. Facing the. *Faune. Water Color. Title. Beginning on. Page. PORTRAITS Pencil and Gold Paint. Self Portrait, 1914. De Lanux. Portrait of a. Pencil and Water Color. Negro. Pencil and Water Color. Miss Fania Marinoff. Pencil and Water Color. De Wolfe. Pencil and Water Color. Miss Elsie Portrait. Pencil and Water Color. Madame. DeBaillets. Portrait. Pencil and Water Color •[The Colored. 11. 21. in the following order:. * Peace. Pierre. -. Pencil and Water Color. Plates are indicated by asterisks].

(170) —— ———— —— ————. — —. CONTENTS Madame Tappe. Pencil and Water Color Pencil and Water Color. Mrs. John Alden Carpenter. Pencil and Crayon. Estrellita. Mrs. George Blumenthal Mrs. Ruby Ross. Miss Alice. Pencil. Goodnow. De La Mar. Drawing. Pencil Draiving. Pencil. Drawing Drawing. Miss Evangeline Johnson. Pencil. Robert O. Handley. Drawing. Self Portrait. — 1921. Pencil. Charcoal Pencil. DRAWINGS AND PAINTINGS * Diane Chasseresse. The Shepherdess Le Printemps. Nymph. Water Color Water Color. Water Color on. Silver. and Faune (The Evil of Pride). Le Reve (The Strange Discovery) Faune (My God). Dancer. Water Color. Water Color. La Danse (Enchantment). Rhythm (Fuga). Water Color. Water Color and Pencil. Water Color and Pencil. Pen and Ink. The Unconcerned. Pen and Ink. Tyrolean Fantasy. Water Color. in. Green and White.

(171) —— —————— ——. — — —. —. CONTENTS The. (To. Final Kiss. Him the Woman. Displays Herself). Pencil and Water Color. The Puritan. Pencil and Water Color. *The Debutante. Water Color. Le Jardin d'Amour St.. George and. Il'Etait. Une. Le Reve. the. Fois. Water Color. Dragon. Une. Princesse. Pencil and Water Color. La Tempete (The Sky la. Nuit. j'ai lutte. Is. Dead). Unfinished Sketch in Oil. Angel. Unfinished Sketch in Oil. Equestrienne. Le Cirque. La. Sketch for a. Water Color. Hooked Rug. Water Color. Water Color. Belle Creole. Pencil and Water Color. The Glass Elephant Nasturtiums In. Water Color. Avec I'Amour. Israfel. Leda. Water Color. Pencil and Water Color. Le Voyageur. Toute. Water Color. Water Color. Water Color. Florida—^ Snap Shot. Florida Jungle. Water Color. Florida Sketch. Water Color. Florida Jungle. Water Color.

(172) ———— — ———— —. ——. —. CONTENTS Illustration for a. Song Book. Pen and Ink Colored. Illustration for a. Song Book. Pen and Ink Colored. COSTUME SKETCHES *The Young Christ. in the. Ice Ballet. Guard. Domino. Water Color. Salome. Tempera. Temple. Water Color. Water Color. Costume Sketch. Water Color. MURAL DECORATIONS Design. Water Color. for a Frieze. — Mural Decoration for a Theatre Oil Columbine and Harlequin — Mural Decoration. Oriental Dance^ Pierrot,. for a Theatre. Oil. Sketch for a Theatre in Chicago. Fountain Steps. —Sketch for a Screen. Mural Decorations. for. George Blumenthal Detail of. Water Color. the. Mrs. George Blumenthal. Blumenthal. for the. Oil. Swimming Pool. of. Mrs.. Oil. Mural Decoration. Mural Decoration. Water Color. for the. Swimming Pool. of. Oil. Swimming Pool. of Mrs.. George.

(173) ——. —. — — ————————. —. CONTENTS The Disembarkation. — Mural. Decoration. Water Color. — Charlie Chaplin Charcoal Mural Decoration —Theda Bara Charcoal Hart Charcoal Mural Decoration — William Mural Decoration — Douglas Fairbanks Charcoal Mural Decoration. S.. Mural Decoration. for a Play. Room. Water Color. Mural Decoration. for a Play. Room. Water Color. Mural Decoration. for a Play. Room Water. Mural Decoration. for a Play. Room. Mural Decoration. for a Play. Room Water. Mural Decoration. for a Play. Room. Tropical Birds. Orpheus. — Sketch. for Screen. Color. Water Color Color. Water Color. Water Color. Water Color. Mural Decoration. Water Color. Mural Decoration. Water Color. Blind Man's Buff. — Mural. Mirror Decoration. Decoration. for the Arts. Oil. Guild Exhibition. Oil on Silver. Design for a Mirror Design. for a. Pen and Ink Sketch. Mirror (Detail). Pen and Ink Sketch. Unfinished Sketch for a Mural Decoration. (Apres La Pluie Le Beau Temps). Water Colo/.

(174) ———— ———. — —. CONTENT Unfinished Sketch for a CciHng. Cherub. Charcoal. Cherub. Charcoal. Cherub. Charcoal. Cherub. Charcoal. *Rain. Water Color. Water Color. SKETCHES AND UNFINISHED DRAWINGS Sketch. Pencil. Nude Figure. Pencil. Sketch for Blumenthal Pool Sketch. Pencil. Sketch. Pencil. Sketch. Pencil. L'Isole. Pencil. Ilkistration. Minstrel. Sketch. Pencil. Pen and Ink. Show. Water Color. Pencil. The designs for the end-papers,. tail-pieces. and head-. ings are from drawings by the artist.

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