Desire" is unusually happy, and it supports its title admirably. Very
decorative in feeling, it is compelling in its appeal to the public.
Maynard Dixon, another Californian, shows an original small canvas, "The
Oregon Trail," endowed with big feeling.

Two cases in this gallery encourage investigation of American
accomplishments in the field of animal sculpture, and on closer
examination of offerings in this most interesting field, we find an
unusually creditable lot of work by Frederick Roth, Albert Laessle,
Arthur Putnam, and Charles Cary Rumsey. They should be considered in a
group if their relative merit is to be fully appreciated. Kemeys and
Proctor somewhat antedate them all in their work (in galleries 69 and
72). Roth is next door to Kemeys in 45, among a variety of things done
mostly in glazed clay. A very fine sense of humor comes to the surface
most conspicuously in "The Butcher", "The Baker", and "The Candlestick
Maker". Putnam and Laessle are in this gallery side by side. In sharp
contrast with the former's muscular and broad type of modeling, the
latter has a very precise and Japanesque quality of detail modeling
which is sometimes a little photographic. Charles Cary Rumsey is only a
few steps away, in gallery 48. In his original subject of a horse and
man drinking he strikes a particularly unique note.

Gallery 80.

Here Metcalf's "Blossom Time" reveals the most poetic of our modern
American painters. The man who bought it made a good investment. In ten
years it will be a classic and worth its weight in gold, including the
frame. This canvas gives one more thrills than almost all the others by
the same man - good as they are. The "Trembling Leaves" is superb, but a
fussy frame destroys half the pleasure. Mrs. Philip Hale's elegant and