ILLINOIS UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Brittle Books Project, 2017.COPYRIGHT NOTIFICATION In Copyright Reproduced according to U.S. copyright law USC 17 section 107. Contact dcc@librarv.uiuc.edu for more information. This digital copy was made from the printed version held by the University of Illinois at Urbana-Champaign. It was made in compliance with copyright law. Prepared for the Brittle Books Project, Preservation Department, Main Library, University of Illinois at Urbana-Champaign by Northern Micrographics Brookhaven Bindery La Crosse, Wisconsin 2017a I B RA R.Y . , ,..OF THE U DIVERSITY OT--1 L LI N O I S 741.59715 3p7sWith Respectful Deference To Miguel Covarrubias Copyright 1926 William P. SpratlimgcAve et Cave per cArs ad oArtis To All the Artful and Crafty Ones of the French Quarter(ST LOU i J CArMEWAC BO ILT 171 3 ) WORE Aer'irs.wRireia Erc.ovl JACKSON SQ, Also ON royal St LfjON^RPt STuWOi rWfcTRf OV Vl£0* 02 RST, let me tell you something about out Quarter, ffte Vieux Carre. Do you know our quarter, with its xj narrow streets, its old wrought-iron balconies and its south- j ern European atmosphere? An atmosphere of richness^and' " 1 soft laughter, you know. It has a kind of ease, a kind of awareness of the unimportance of things that outlanders ^ //fee myself—I am not a native—were taught to believe H important. So it is no wonder that as one walks about the ^ quarter one sees artists here and there on the shady side of the street corners, sketching houses and balconies. I have counted as many as forty in a single afternoon, and though I did not know their names nor the value of their paintings, they were my brothers. And in this fellowship where no a badges are worn and no sign of greeting is required, I pas- ^ sed them as they bent over their canvasses, and as I walked ^ onward I mused on the richness of our American life that J* permits forty people to spend day after day painting pic- tures in a single area comprised in six city blocks. When this young man, Spratling, came to see me, I did not remember him. Perhaps I had passed him in the street. Perhaps he had been one of the painters at whose ^ easel I had paused, to examine. Perhaps he knew me. Per- ^ haps he had recognized me when I paused, perhaps he had been aware of the fellowship between us and had said to himself, 7 will talk to him about what I wish to do; I wilt 626981talk my thought out to him. He will understand, for there is a fellowship between us/ But when he came to call on me, I did not remember him at all. He wore a neat business suit and carried merely a portfolio under his arm, and 1 did not recognize him. And after he had told me his name and laid the portfolio on the corner of my desk and sat opposite me and began to expound his plan to me, I had a kind of a vision. I saw my- self being let in for something. I saw myself incurring an obligation which I should later regret, and as we sat facing one another across my desk, I framed in my mind the words with which I should tell him No. Then he leaned forward and untied the portfolio and spread it open before me, and I understood. And I said to him, 'What you want me for is a wheelhorse, is it?' And when he smiled his quick shy smile, I knew that we should be friends. We have one priceless universal trait, we Americans. That trait is our humor. What a pity it is that it is not more prevalent in our art. This characteristic alone, being national and indigenous, could, by concentrating our emo- tional forces inward upon themselves, do for us what Eng- land's insularity did for English art during the reign of Elizabeth. One trouble with us American artists is that we take our art and ourselves too seriously. And perhaps seeing ourselves in the eyes of our fellow artists, will enable those who have strayed to establish anew a sound con- tact with the fountainhead of our American life. 1$ W. F,Mister Sherwood AndersonNathaniel C. Curtis, Architect irrigator of the sahara of the bozartFranz Blom the tulane champollions Ellsworth Woodwardw* $ Meigs O. Frost sketched on the side linesPeggy Passe Partout takes a hurdleOliver Lafarge of harvard, a kind of school near bostonOdiorne of the cafe du dome and new orleans<- E P £ T t -T T nit /} I OPfNi«IC Mrs. James Oscar NixonRichard Kirk c Moise Goldsteinsw Virginia Parker NagelFrederick Oechsner young lochinvar with a cap pistolMr. Whitesell the royal street photographerMadame Fannie Craig Ventadourdr the press the times-picayune, new orleans Roark Bradford Story-Teller John McClure Ballad-Maker Charles BienBy LEONARDI STUDIOS, SAINT PETER STREETffi V V CZARINA OF THE MOVIESMarian DraperConrad AlbrizioThe DOUBLE DEALER NEW ORLEANS MCMXXVI PRICE 25 CENTS Lillian F. MarcusDaniel Whitney from the portrait now at the arts ej crafts clubHelen Pitkin Schertz of le petit theatreKeith TempleEmmett KennedyPrecloFlQ ctetfcncs PINTORES EKTRANJtfiOS EN. MALLOBQA RONALD HARQRAVE AUTOCARKATVRA FROM "EL DIA", MAJORCA5f 7Ae a happy conception of the artist, the significance of which has slipped his mind in the interval. picture has to do with superiority of agile heels over the keen- est brain in captivating that elusive female, success. Ham Basso and the muse do the CharlestonLouis Andrews FischerAlberta Kinsey portrait of the artist working on a rainy dayLyle Saxon the mauve decade in saint peter streetIl Maestro Levy de le petit operaCaroline Wogan DurieuxGenevieve Pitot pianissimo apassionataAlbert Bledsoe Dinwiddie B. A., M. A„ Ph. D., L. L. D.Samuel Louis Gilmore le repos de florizelau0$£y eew lev a Grace King, portrait by wayman adams + aubrey beardsley + william spratling(ct<4 u*u 8