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Notes an News

The Philadelphia Record, January 27, in an article devoted to Cornelia CHapin and her work, mentions her Penguin carved direct from life in black granite, which was awarded the second Grand Prix ate the Paris International Exhibition in 1937 and which was shown in The National Arts Club Members' Annual Exhibitions in January 1938. 
After referring in particular to her "Pelican-in-response," carved direct from life in Greek marble, which was shown at the recent exhibition of the Pennsylvania Academy of Fine Arts, and her Turtle, carved in volcanic rock, the article goes on to say: 
"Though the greater part of Miss Chapin's work is of animal figures in the round, she also cuts nudes and portraits ina variety of media, many of them in the Egyptian manner of cutting in one plane rather than the embossed style, as emphasized so strongly today."
National ARTS. March-1-1938

Edward Alden Jewell of the New York Times, who usually has something nice to say about the Women's Annual, judged this years's show as being "a large affair, attractively laid out ... With the work of many of the artists the New York public has ong been familiar; not so when it comes to a great many of the others. But whether known or unknown to us, the artists as a group prove that they can bring together a big exhibition that they can bring together a big exhibition that upon the whole is interesting and alive."
15th January, 1938

Women Artists from 44 
States Hold Decorative Annual Exhibit

To Henry McBride of the New York Sun the show was "livelier than ever before. There in nothing in the show that is glaringly unintelligent (which is more than you can say of the men's exhibitions) or glaringly untrue to life, or glaringly offensive in taste. In fact, taste and competence in execution are the keynotes to the collection as a whole. If, on the other hand, there is nothing bravely explorative, that is, perhaps,typical of the sex. Women, they are always saying, are staunchly conservative. Anyway this show is."
Portraits and figure paintings carried off the honors, according to Royal Cortissoz, who cites examples by Sue May Gill, Lee Lufkin Kaula, Emma F. MacRae, Ruth Wilcox, Helen Winlock, Lois Williams, Catherine Forbes Jones  and Margaret Fitzhugh Browne. Other pieces selected by this critic were the flower and still life studies of Ethelyn C. Stewart and Ruth G. Mould.
Jerome Klein of the New York Post termed the $250 Huntington prize-winner a "superficially streamlinded Haitian dancer." He praised,

Calling the Loa, Haiti: Lu Duble 1st Huntington Prize ($250)
[[image]]

however, the "less sensational but sounder sculptural virtues" of Rose Newman's Young Woman, and pointed to Doris Caesar's "mannerist figure" as being "far superior to the prize winners." The paintings that stand out in the mass, in Mr. Klein's opinion, are Caroline Martin's amusing sketch of a balloon parade, Margaret Huntington's spirited canvas of a country auction, Betty Waldo Parish's sturdy farm landscape, a diverting satirical portrait by Caroline Durieux, and the work of Frances Failing, Selma Oppenheimer, Carolyn N. Saxe, Mary Bayne Bugbird, Loretta Howard, Cornelia van A. Chapin, Stowell Le Cain FIsher and Mary H. Tannahill.
For general excellence Henry McBride of the Sun suggested Girl With Cards by Jane Diamond, Alabama Steel by Mary Sarg. Southern Magnolia by M. Elizabeth Price, Silent, Sunlit Morning, Vermont by Marion Gray Traver, Elsie W. Bacharach's still life, Roundout Bridge by Carolyn N. Saxe, Two in the Sun by Charlotte Kudlich Lermont, Portrait of George Jacobs by Rachel Bulley Trump, The Hall Table by Margaret S. Darrell, The Bay, Vigo Spain by Frances Failing, The Lonely Tree by Caroline Dudley, The Laundress by Virginia Carleton, Sunday Morning by Selma Oppenheimer, Magnolia Leaves by Dorothy Ochtman, Gamberaia Ilex Leaves by Sybil Walker, Old Timers by Helen A. King, Dance Satirist by Jean Van Vliet Spencer, Selling Marie Antoinette by Lesley Crawford, Morning News by Caroline Forbes Jones and E. Modrakowska's self portrait.
Emily Genauer of the World-Telegram signalled out Doris Caesar's work, Ilse Niswonger's sculpture Annunciata, Eugenie Marron's Head of a Young Woman, Mary Sarg's powerful Alabama Steel, Edythe Ferris' imaginative Wives of the Dead, Edith Brisac's well designed Fish Houses, Gaspe, Nellie Burton's vigorous Cuernavaca, Betty Carter's lively Truckin' at the Savoy, and the popular Duet by Mary Hutchinson. 

Howland Wood Dies: Howland, curator of the American Numismatic Society, is dead at the age of 60, after a brief illness. He was considered one of the world's most famous numismatists.