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"Last seen at the morgue," Pete's voice went down to a whisper.
"You don't mean...?"
Davis nudged Shinn..."Pete's not only short-handed but he's shy a bottle of chloride of mercury...Lou stole it."
"Christ," Crane said and scratched on his strangling octopus of graft...Despite the flippancy of the men the chill of tragedy tightened...For a moment the pens lay quiet and then scratched on again.
The above might serve as a sample of every day and night in the Art department of any daily newspaper of this period before the camera took the place of "on the spot drawings." Sketches, if any, made on the scene, were hurried; usually mere markings with numerals shot off at tangents. If a fire was to be covered then a marginal notation... eighteen stories and seven across, representing windows. A quick note of some detail of a cornice or architectural peculiarity was drawn in more carefully. More crosses where fire blazed in windows. Marks indicated fire engines, scaling ladders, hydrants, hose and other apparatus...At the drawing-boards these marks would metamorphize into a scene of action.
A book that served as diversion on the way to an assignment offered its marginal and even printed pages for pictorial data. Luks nearly filled Hugo's Toilers of the Sea with galloping polo ponies at an international meet. They were masterpieces superimposed on a masterpiece.
Shinn had gone into the coal regions of Pennsylvania with a drunken reporter to cover a cave-in half way down a mine shaft. Shinn, disliking the bulge of copy-paper that marred the outline of his new spring suit, relied on the reporter to supply him with such material as he might need. Far up the mountain-side the artist, after joining his friend, found him coatless, caneless and bottleless, but he was jauntily wearing his new straw hat. A complicated hoisting machine crowned the mine shaft. No paper...and the machine a test for memory...He studied it, watched it work, nothing rescue apparatus, hysterical women and children and the desperate efforts of a rescue squad...No paper...He looked with malice on the sodden reporter stretched in fuming sleep against a pile of wreckage...Quietly removing the reporter's new straw hat he looked inside on the pristine and virginal white satin lining, and on this clean space drew the intricate parts of the machine through the stamp of a Market Street haberdashery...At Broad Street Station the reporter gave the hat to a boot-black but not before Shinn had torn out the lining.
Glackens, Sloan, Shinn and Luks observed until, in turn, they too, were observed
EVERETT SHINN.
12

CATALOGUE PAINTINGS
WILLIAM GLACKENS,1870-1938

1. HAMMERSTEIN'S ROOF GARDEN, about 1901 30x25inches Collection Mrs. William J. Glackens
2. LUXEMBOURG GARDENS,1904 23 3/4x32inches Corcoran Gallery of Art
3. CHEZ MOUQUIN,1905 49x36 3/4inches Art Institute of Chicago
4. DRIVE IN CENTRAL PARK, about 1905 25 3/4x32inches Cleveland Museum of Art
5. FLYING KITES,MONTMARTRE,1906 24x32inches Museum of Fine Arts, Boston
6. BUEN RETIRO,MADRID,1906 25 1/2x32inches Collection Mrs. William J. Glackens
7. ROLLER SKATING RINK,1906 26x32inches C.W Kraushaar Art Galleries
8. THE GREEN CAR,1912 26x32inches Metropolitan Museum of Art
9. FAMILY GROUP,1913 72x84inches Collection Mrs. William J. Glackens
10. GIRL IN BLACK AND WHITE,1914 32x26inches Whitney Museum of American Art
11. FRUIT IN BOWL, about 1914 12 3/4x16inches Collection Mrs. William J. Glackens
12. THE DREAM RIDE, about 1920 48x54inches Collection Mrs. Williams J. Glackens
13. BOUQUET ON RED TABLE CLOTH, about 1920 24x18inches Collection Mrs. Juliana Force
14. MIMOSA,1925 15X18 1/4INCHES Collection Mrs. William J. Glackens
15. PROMENADE,1927 32x26inches Detroit Institute of Arts
16. BEACH AT ST. JEAN DE LUZ,1929 24x32inches Collection Mrs. William J, Glackens
17. THE SODA FOUNTAIN,1935 48X36inches C.W. Kraushaar Art Galleries

GEORGE LUKS,1867-1933

18. THE OLD DUCHESS,1905 30x25inches Metropolitan Museum of Art
19. THE LITTLE MILLINER,1905 25 1/2x33inches C.W. Kraushaar Art Galleries
20. THE SPIELERS,1905 36x26inches Addison Gallery of American Art
21. THE LITTLE MADONNA,1907 32x27inches Addison Gallery of American Art
22. OTIS SKINNER AS COLONEL BRIDAU IN "THE HONOR OF THE FAMILY," 1908 52x44inches Phillips Memorial Gallery
23. LIL,1909 45 1/4x40inches Collection Mrs. Clara DuPlessis Whelan
24. HOLIDAY ON THE HUDSON,1916 30x36 1/8inches Cleveland Museum of Art
25. ARMISTICE NIGHT,1918 36x69inches Frank K.M. Rehn Gallery
26. CZECHO-SLOVAK CHIEFTAIN,1919 68x38inches Newark Museum