58 
KERAMIC STUDIO 
ANITA GRAY CHANDLER 
7 Edison Avenue. Tufts College, Mass. 
Page Editor 
AT THE SIGN 
OF THE 
BRUSH AND PALETTE 
This is Ye Old Art Inn 
where the worker of Arts and 
Crafts may rest a bit and par- 
take of refreshment. 
AUGUST seems to be the month for American women to 
close their homes and sojourn to some other part of the 
map than that particular spot where they have spent the 
preceding months. Some find relaxation in quiet country 
places by lakes or shore; others are attracted by the lure of 
larger cities than their own. New York, Chicago, Boston, 
Cleveland, Washington, each has its share of summer tourists 
eager to gather a store of information, impression and pleasure 
for the coming winter. Shops, parks, concert-halls, theatres, 
art-galleries and museums all contribute something to the 
whole. No doubt hundreds of Keramic readers will visit 
the larger cities this summer. Don't forget to drop into the 
art galleries and museums when you go. See as many pro- 
fessional exhibitions as you can crowd in between shopping 
trips and the movies. Your own work cannot fail to improve 
as a result. You will go home refreshed, your mind full of 
new ideas, and your fingers eager to take up the brushes again. 
A fascinating collection of textiles, pottery, glass, and 
silver from Mexico is being shown by the Boston Museum of 
Fine Arts through the summer months. It is lent by Mr. and 
Mrs. Eman L. Beck, long resident in the City of Mexico. 
The Cleveland Museum of Art successfully ended its 
first year on June 7. Mr. Frederick Allen Whiting, the di- 
rector, was formerly secretary of the Boston Society of Arts 
and Crafts. Since the opening of the museum, according to 
the official report, objects of art and money gifts to the value 
of $2,500,000 have been gratefully received. During the 
year it has been visited by 376,459 persons, averaging 1,032 
on week days and 4,333 on Sundays. Needless to say, this 
is an excellent record which does not require the usual modi- 
fication in such cases, "for a new museum." 
In the thirty-eighth annual report of the Chicago Art 
Institute acknowledgement is made of the following gifts: 
the Bryan Lathrop collection of Whistler etchings and litho- 
graphs, about 400 in all; the Alexander A. McKay bequest of 
$100,000, the income for purchase of paintings; and Mr. and 
Mrs. Frank G. Logan's gift of $50,000, the income for prizes 
at Art Institute exhibitions. 
♦ ♦ ♦> 
The American Association of Museums met on May 21 
and 23, in the American Museum of Natural History, and on 
May 22 at the Metropolitan Museum of Art, in New York 
City. One session of the meetings was mainly devoted to 
reports on the ever increasing effort to utilize museum objects 
for the instruction of children in the history of civilization. 
These reports showed a vigorous extension of the work in 
New England and New York Another session resolved itself 
into a discussion of the best methods of display in art museums. 
Still another took up the close connection of the museum and 
the artist, also of the museum and the art dealer. It was voted 
to issue during the coming year a small monthly publication 
called The Museum News Letter, devoted to the interests of 
all American Museums. The general editor is Mr. Harold 
L. Madison, Curator of the Park Museum of Providence. 
The art editor is Miss Margaret T. Jackson. 
Miss Marie Lehr has been appointed Curator of Prints in 
the Minneapolis Museum of Art. Miss Lehr, formerly Assist- 
ant in the Print Department of the Boston Museum of Fine 
Arts was given a year's leave of absence last October in order 
to organize a Print Department at the Minneapolis Museum. 
Tomita Pottery. 1850. Height 8>2 inches. Fine fawn-colored clay, very 
light glaze. Overglaze decoration vigorously drawn in blue, purple and 
green. Cover perforated in flower pattern. 
(Courtesy of the Boston Museum of Fine Arts.) 
The graceful Japanese jar of Tomita pottery pictured 
this month, is very appropriate to the season. It is nothing 
more nor less than a mosquito-smoker! The Oriental beauti- 
fies his humblest pursuits. This jar is not a very early speci- 
men, having been made about 1850, but is singularly beautiful 
as to line and decoration. The origin of the pottery at Tomita 
is unknown. However we know that it was abandoned in 1780 
and re-established nearly fifty years later. The mark Tomita 
is very rare. 
