intelligently painted little canvas by Albert Guillaume shows the
interior of an art dealer's shop. The agent is making Herculean efforts
to bamboozle an unsuspecting parvenu into buying an example of some very
"advanced" painting. The canvas is fine persiflage in its clever
psychological characterization of the sleek dealer and the stupid
helplessness of the bloated customer and his wife, who seem hypnotized
by the wicked eye in the picture. As a piece of modern genre in a much
neglected field, it is one of the finest things of recent years. On the
extreme left of this wall a very fine bit of painting of an Arabian
fairy tale by E. Dinet deserves to be mentioned.

Almost opposite this small canvas Lucien Simon has a large picture
painted with the bravura for which he is famous. The atmosphere of this
fine interior is simply and spontaneously achieved, and the three
figures of mother, nurse and balky baby are excellently drawn. The
still-life by Moride, to the left of this picture, shows all the
earmarks of the modern school without sacrificing a certain delicacy of
handling which is often considered by many modern painters a confession
of weakness. A fine Dutch canvas on the extreme left of this wall, by
Guillaume-Roger, attracts by a fine decorative note seldom found in
pictures of French easel painters.

The east wall of this gallery is distinguished by a number of fine
landscapes by different men. Beginning on the left side of the door
Jules-Emile Zingg presents two tonally skillful winter landscapes of
great fidelity, while on the right is Henry Grosjean's delicate
atmospheric study of a broad valley floor. A decorative watercolour of
the Versailles Gardens, by Mlle. Carpentier, commands admiration by
reason of its fine composition as well as by the economical but
effective technique of putting transparent paint over a charcoal