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...Keezer, long famous as a clothier, agreed last night to the rumor that he has set up as an art connoisseur with an original Whistler etching to his credit...

Author: NO WRITER ATTRIBUTED | Title: MAX KEEZER REVEALED AS CONNOISSEUR OF THE ARTS | 3/21/1925 | See Source »

...Keezer was forced quite by accident to be ranked among patrons of the beaux arts, when he purchased the estate of the late Gilmore Clapp. When the estate came to Keezer there were some pictures in it, among them the Whistler etching...

Author: NO WRITER ATTRIBUTED | Title: MAX KEEZER REVEALED AS CONNOISSEUR OF THE ARTS | 3/21/1925 | See Source »

...foreword, he denounces, derides all others who have written about etching. The curator of prints in the British Museum, he is demolished; "poor old Hamerton" (Hamerton whose works have long been the only authority on etching), he is spurned. He employs many great names, many swaggering pronouns. "Whistler," says Etcher Pennell, "Whistler and I. . . ." "Whistler and me. . . ." Down the list of the world's immortal etchers he runs his pen, here scratching out a name, there setting a black spot, occasionally making the faint checkmark of approval; Of Zorn's later prints he says: "They had become feeble and photographic...

Author: /time Magazine | Title: Pennell's Pen | 12/8/1924 | See Source »

...Glencairn. The Provincetown Players started their season with a foggy fantasm called The Crime in the Whistler Room and critics sighed. Were the promising group (headed by Kenneth MacGowan, Robert Edmond Jones, Stark Young, and Eugene O'Neill) going to break promises? S.S. Glencairn stifles sighs. Promises of provocative and capably significant drama are being kept. These four one-act plays are among the very few evening's worth of money and mind on the present playbill...

Author: /time Magazine | Title: The Theatre: New Plays: Nov. 17, 1924 | 11/17/1924 | See Source »

...Chicago Art Institute. The pictures, 325 in number, had been chosen by a jury which for many weeks searched the U. S., selecting from proposed entries those which best recommended themselves to the eye, with a continual hope of discovering among young artists some mute, inglorious Millet, some untrumpeted Whistler or coy Corot. The pictures were put on view; prizes were awarded. To Eugene F. Savage of Manhattan went the Frank G. Logan medal, carrying with it $1,500, for his painting Recessional, which showed (lifesize) the Four Horsemen of the Apocalypse, fire in their nostrils, clouds in their hair...

Author: /time Magazine | Title: Art: In Chicago | 11/10/1924 | See Source »

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