interesting colour nor sufficient atmosphere to come up to the standard
of this typical desert painter.

Gallery 46.

There is a lovely note in this gallery, contributed by Ruger Donoho's
garden scenes. Most unusual in subject, they are full of life, vibrant
with colour, and altogether very delightful, a most pleasant change from
the ordinary run of subjects. Frank Dumond's work on another wall (B)
excels in a pleasant mannerism. His work is most thoughtful and well
studied. The two smallest of his paintings are perfect gems in every way
- well balanced by two small tender canvases of southern Europe by Mrs.
Dumond (on the opposite wall). Two portraits in this gallery, Inez
Addams' "Daphne" and Adolphe Borie's "Spring," should not be slighted.
Borie's is very strong, and one of the best portraits on exhibition.
Alongside of it is a winter landscape by Ernest Albert, which, while a
little timid, is nevertheless poetic and more convincing than others of
that type near by.

Gallery 45.

Charles Morris Young's art is so refreshing, so spontaneous in every
way, that it catches one's eye immediately on passing on into this room.
His work deserves recognition for more than one reason. His handling of
paint is fresh and clear and a direct aiming for a final expression of
what he wants to convey. Any one of the six subjects is well handled.
They give one the feeling of the artist's thorough understanding of his
material. His own "House in Winter" and the "Red Mill" reach the
high-water mark of landscape painting in the exhibition. Griffin's
pictures, on another wall, so openly disregard technical rules in their