Word: ferargil
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...except two classes: the dignified old dealers like Macbeth and the very young, radical galleries not likely to want the same pictures as the Metropolitan, like the Rehn, Downtown and Milch Galleries. Curator Burroughs selected two painters each from the Macbeth, Rehn, Downtown and Milch Galleries and one from Ferargil. Several good examples by each man were sent to the Museum. Next part of the spree was by the Board of Trustees' Committee on Painting, long a rampart of conservatism. Committee conservatives are Architect Cass Gilbert, Lawyers Elihu Root Jr., William Church Osborn and Sugarman Horace Havemeyer...
Trembling with excitement, a functionary of Manhattan's Ferargil Galleries telephoned frantically last week...
Probably an abler artist than Peggy Bacon is William Henry Dyson of England who hung more of his brilliantly bitten etchings at the Ferargil Galleries last week. Grey-haired, slender and 48. he was born in Ballarat, Australia, still speaks with a rich bush-twang. He emerged from the War a witty cynic with an artistic manner reminiscent of Beerbohm the Exquisite, but with an even surer command of line. Possibly to make the Beerbohm parallel less marked he adopted etching as his medium two years ago. Like Max, half the effect of his pictures is in the written...
From Dublin to Manhattan's Ferargil Galleries came a famed horse canvas. It is Friends by John F. Herring, in which four Dobbins are shown placidly chomping foliage in the company of pigeons. Reproductions of Friends hang in half a million U. S. homes where horse-appeal means more than esthetics. Artist Herring was a British coachman, painted inn signboards, countless glossy thoroughbreds. Unlike Rosa Bonheur, he was not primarily concerned with equine rhythms, taut muscles. But he waxed sentimental over horses' heads, manes...
...Joshua Reynolds flattered 18th century women with his graceful, glimmering brushwork. But when he painted self-portraits, which he did at least 45 times, he exercised all the artistic honesty that Rus- kin could have wished. One of the last of his self-portraits has been acquired by the Ferargil Galleries. The stately, long-nosed Sir Joshua wears the rickety spectacles that were harbingers of his pitifully failing eyesight. For him, shining satins would not much longer shine. Shortly after completing this prophetic portrait he made a stoically doleful remark. "All things have an end," he said, "and I have...