Newark School of Fine and Industrial Art - Fawcett Yearbook (Newark, NJ)

Text from Pages 1 - 132 of the 1928 volume:

a “ Sve b é FLORENCE LIGHTHIPE THE YEAR BOO PUBLISHED “BY THE GRADUATING CLASS FAWCETT SCHOOL OF EN D.UST REALE ARYlks NEWARK NEW JERSEY NINETEEN HUNDRED TWENTY EIGHT TO AMARGU PRICE Vick RO LURAgRaT OUR: (PsRIN GP AT SANs Pe Ro EIN WHO'S BE ASD BOR Sts ltb aN clo OnOn WER AGE Liv AGV sa VWeOsha era FO:R, 3O.0(R” Win BE ESASRS beseANs0s = el be Wor hk AR By OF Seas Geb O Ors EHE—-CGL ASS O F-41925 “EB OWAE-LeyY DiF sD DOxAs DSS ieee Sees hs OO ake MAR GUE RilsT or VUTALR ©. UPAR sD Portrait by Fred Mauer, Day School With the coming of Dr. Logan as new superin- tendent of schools the city in general and Fawcett in particular felt its pulses working more vigor- ously. The arrival of a new and enthusiastic per- son brought new life to the whole community. And with new life comes new hope; new hope, perhaps, for Fawcett, and a realization of our long frus- trated dream, a bigger and better school. Dr. Logan, our leader in education, has assured us of his friendship, and interest, and we are most happy to have such a worthy admirer among our well-wishers. [ 4] ji HeNeHo Ee OiGeAan SUPERINTENDENT NEWARK SCHOOLS BAS RELIEF OF THOMAS L. RAYMOND By Guiseppi Naselli Mayor Raymond has developed Port Newark, negotiated for the Union Railroad station, and has helped in every way the industrial progress of the city. Strange as it may seem he is more interested in the cultural and spiritual Newark. His keen interest in our school and its activities has helped us in many dark moments. Long live our Mayor, whose vision of a greater Newark means so much to the coming generation. [5] HENRY YOUNG, President Newark Board of Education Mr. Henry Young, the president of the Board of Education, although a lawyer by profession is an artist at heart. He is vitally interest in Fawcett and its development, and has always appreciated to the utmost the part it plays in a big industrial city. Mr. Young entertains high hopes for the long strides of real progress to be made by the Fawcett School of the future. [6 | LOE SOUL OF LHE CILy if HE purpose of education,” said Plato, “is to give to the body and the soul all the perfection of which they are capable.” A city, like an individual, has a body and it also has a soul. Art is the soul of industry and without art an industrial city would be dead, indeed. How many in this city ask themselves whether or not Newark has a soul? ‘The majority of a city’s inhabitants are concerned more with the material city than with its spiritual or cultural character. It is the statues in the parks, the churches, the museum, the libraries, the ever changing skyline of beautiful architecture, musical development, art clubs, and like things that make for a great city. On account of its geographical position, Newark has long been accustomed to depend on New York City for much of its cultural inspiration, but now our city has developed to such an extent that Newark finds herself faced with the development of her own cultural centers. Such a center as this is the Fawcett School of Industrial Arts. If the stranger to our city has any doubt in his mind about Newark having a soul, he need only pay a visit to our school. ‘There he will find young men and women of all ages and all walks of life working to make the premier city of New Jersey one of the centers of culture of this great country. IrmA L. Losi Pal LANDSCAPE FROM THE WINDO W — MPashington and James Street Day School [8 ] APPRECIATION IDA WELLS STROUD When the day school had but one instructor, Mrs. Stroud was the one who, looking forward to the school of the future, kept students inspired and the work on a high level. This spirit still dominates the school and the graduating class wishes to express real appre- ciation. [9] ALVIN KLEINFELDT Even before the day school had its beginning, Mr. Kleinfeldt was a member of the evening school fac- ulty, and to him is the honor of having served the school for the He has also had a keen interest in develop- longest number of years. ing the Saturday morning school for children which is now a vital part of the school. Emile Alexay Helen Axford John R. Barrett W. Wallace Beisheim Julia Black Helma Boeker Norman Braley John F. Brandt Howard V. Brown Pearl P. Brown Robert Castle Gustave Cimiotti Jay W. Connelly Frank J. Davey Alfonso Del Guercio Jerome P. DeWitt Angelo M. Di Vincenzo August Dowe Byron G. Dreifoos BAGUE LY MARGUERITE MARQUART, Principal PHILIP M. WAGNER, Secretary Harvey L. Fassett Hilda Feldman George E. Fiedler Gertrude V. Flory Ernest H. Fougner Andrew Geiger Michael Geiger John F. Gould John R. Grabach Elizabeth H. Greene Gertrude M. Goehring Bernard Gussow Peter A. Haanes Genevieve Hamlin E. Grace Hanks Joseph S. Harris William F. Hingel Archibald Hunter Vincent Jannelli M. Grace Johnston Mildred Kaiser Harry G. Kettenring Edward P. Kirsch Alwin J. Kleinfeldt Charles E. Krahmer Charles J. Lauter Almeda Leach Louis Ledonne Moritz Loefller Don R. Luis Emily MacEwan Maude M. Mason Katherine M. McGrath Jean ‘T. Mitchell Abraham Molarsky Seumas O’Brien Mildred Pike James V. Prior [ 10 ] Edith Saxon Daniel H. Seaman Carl Schleusing Alfaretta B. Shirley Robert B. Shirley Maxwell S. Simpson Owen Smith Joseph Streeter Franklin B. Strong Ellsworth Terrill Ida W. Stroud Ruth Taylor George F. Townley Edward M. Urband William G. Wagner Margaret Webster Charles J. Weyand Robert C. Ziessler Margaret Van Zant ILLUSTRATION EVENING SCHOOL COMPOSITION ered DESIGN � Ride 4 Gack Nov: © fay BAsE LKB YecA NON AGA ERIN Ge KES EVENING SCHOOL DESIGN STUDENT [ 12 ] THE FIGURE IN SCULPTURE AND PAINTING N modern times with the coming of advertising and its magical growth, the figure, besides being used in painting and sculpture, is seen everywhere—bill- boards, magazines, store window models, and so on. A piece of work is classed as high grade or cheap ac- cording to the correctness with which the figure is drawn. The reason, of course, for this universal demand that figures be correctly drawn is that the figure represents Life, and that proper proportion and balance are necessary to life. An artist can change the proportion or shape of a table, for instance, as he draws it, and it will still look like a table, but he cannot change the pro- portions of a human being and have it representative of Life. As art students we have learned to appreciate the value of through study of the figure. As architectural students study the five great orders to gain familiarity and understanding of fine propor- tion and line, so we realize more and more that the study of the greatest piece of architecture of all time, the figure, is developing our judgment and taste and that this better feeling for line and proportion is showing in all our work. PAULINE FRANCIS COSTUME ILLUSTRATION THIRD YEAR COSTUME STUDENTS’ WORK IN BOOK ILLUSTRATION [ 14 ] JEWELRY 5. WARGO - -HOWARD SHAY S. WARGO WER Ke bak. Vee NoUN:Ges UD EN TS [15] JEWELRY J. MORDWA os ay . SWEZEY E GUSTAFSON WOR REO. eet IeN DN Gap Ue DENS [ 16 ] THE CLASS PROPHECY EVENING SCHOOL—1928 PB, RING the long-to-be-remembered storm of the spring of 1950, I was crossing from France to the on United States. A strong wind was blowing, and our ship, the New Jersey Air Express “NEWARK,” was rolled and pitched as a mere bit of chaff from one current to another by the angry elements. It was during one of the wildest moments of the storm that I perceived a gentleman carefully treading his way in my direction. The plane slanted suddenly the better to accelerate progress so that he lurched toward me at the rail. It was William Leonard, now a well-to-do illustrator of California. He had been successful in more ways than one, for he was accompanied by his wife, Ellen Cloves. As William and I were chatting over old times, the Cap- tain strolled up to us. Simultaneously we both cried “Tom Masterson!” Sure enough; it was our old friend Tom. He had commenced his aeronautic career shortly after leaving “Old Fawcett.” The surprise of this reunion was wearing off when we drifted into Port Newark. A huge crowd had gathered for the landing. I thought it was a demonstration in honor of some personage aboard the “NEWARK,” but soon perceived my error, for Bill called my attention to a gaily decorated grandstand in the center of the crowd. ‘“Let’s see if we can force our way up there and get the ‘low down’ on what it’s all about!” After about fifteen min- utes of battling and elbowing we found ourselves in front of a large grandstand. We were informed that the cause of the mon- strous assemblage was the unveiling of a statue of Mayor Raymond, President of the United States, through whose keen foresight and untiring zeal Port Newark was developed into one of the leading ports of the world. Hark! The bugle sounds. The act of unveiling is about to proceed. A tense feeling comes over me. My gaze becomes fixed on the covered statue. There is a heavy silken cord attached to the covering. My eyes slowly follow along till they come to the other end of the cord, which is held by Miss Marguerite Marquart, who had the honor of unveiling. Hastily, I made my way to her. She told me that she had just arrived on the ship previous to mine. She had made an extended trip on the continent and visited the Louvre in Paris, the Pitti Galleries of Florence, and other famous art centers. The sculptor of the now unveiled statue of Mayor Raymond was none other than our own affable and care-free Giuseppe Naselli, [17] The crowd slowly dispersed, and I found myself separated from those I was with and wandering aimlessly alone, when I was suddenly awakened from my musings by the loud honking of a horn and the crunching grinding of brakes. I looked up startled and beheld the most beautiful car I had ever seen. A liveried chauffeur and assistant sat in front. I wondered who the owner might be of such a high-class car, when lo! and behold! as I looked there sat Gerard W. Hesselgren and his wife, the former Marie Fiorito. After much rejoicing at seeing these old friends they told me they had a studio in New York and had just arrived from a trip around the world. A magnificent granite structure next caught my gaze. What can this building be? ‘The Fawcett School of Industrial Arts! —now the outstanding art school of the entire country. Turning around I beheld our genial Mr. Philip Wagner. We chatted together in front of the school. Along came Steve Hanratty, now a distinguished citizen of great wealth. Another surprise was in store for me. Along came Sid Knoller and Mrs. Knoller, who had lots of news for me. They told me that Irma Losi was now editor of “Vogu e” and although she retained her maiden name for business purposes, she was happily married, and the lucky man was Leo Kabis, a successful architect. Regina Shillcock was now Mrs. Thomas Jones, both successful in their respective lines, she as a costume designer and Tom as a poster artist. Dorothy S. Breman was now a great portrait painter and the wife of Frankie DePaulo, automobile racer. Miss Lietta Troiani had married a millionaire, and occasionally visited Fawcett. And the smiling Mabel Reisig married a sculptor of national reputation. After listening to all these pleasant surprises, I expressed a desire to see the interior of Fawcett. From classroom to classroom I went. _ My admiration for Miss Marguerite Marquart became more pro- found, because it was mainly through her untiring efforts that the new school became a realization. I expressed a desire to be alone. I wanted to dream about my old classrooms and hear Mr. Klein- feldt say, “You must learn to see,” and Mr. Gussow impress upon me the importance of using reds and greens—and the smiling Mr. Brown tell me to get more action in my drawing. As I mounted the elevated monorail on the way to my little suburban home, I thought of the various pleasing events that had happened during the last few days. Surely it was something that will be remem- bered; something that will leave an impression which time alone can efface. With thoughts of fervent love for my old classmates and of deep gratitude to my teachers welling up in my bosom I was about to step from the— “Cyril, this is the third time I’ve called, do you hear?” And I heard. CyriL A. Horn, ’28 [ 18 ] JEWELRY DESIGN EWE LS are older than houses, older than pottery, older than clothing, The oldest of all—early Neo- lithic necklaces of teeth, pendants of ammonite, fos- sil shells and strange pierced stones—show man’s first crude attempts at ornamental jewelry. That the jewelry craft is an old one is shown by pieces dating back to 8ooo B. C. unearthed in Egyptian tombs and the many and recent excavations testify to early man’s achievements and superlative skill. Examples of historic jewelry of ancient and medieval times may be seen in museums of almost every country. Jewelry in those days was not made for the masses. It represents the work of the finest artists often patronized and maintained by kings, their favorites and nobles, who counted not the cost but demanded excellence. A study of historic jewelry will reveal that each piece is the product of a cycle or period in art. Civilizations have risen and declined and in passing have left us a record of their splendor written in their ornaments. A study of modern jewelry shows that we have already passed through several cycles in which ornament has been influenced by the past and the beauty of the ages has repeated itself. Today we stand at the beginning of a new era in jewelry design. The wave of modernism which has influenced painting, music and in- terior decorating is now evident in jewelry. The keynote is sim- plicity. Straight lines are set at severe angles and strong con- trasts of color are obtained with stones precious and semi-precious cut to every shape imaginable and held in place in the most dis- creet settings. A designer of modern jewelry must be a creative artist. He must have a sound knowledge of the principles of design in gen- eral, plus a knowledge of the particular materials used and their limitations. He must also be familiar with historic and modern ornamentation. : The Fawcett School through its course in jewelry design is making this knowledge available and as the manufacture of jew- elry is one of the important industries of Newark the influence of Fawcett is invaluable and makes. a distinct contribution to Newark. EDITH GUSTAFSON ’28 [ 19 ] INTERIOR DECORATION T is a known fact that the history of decoration is inter- woven with the history of mankind. The most prim- itive peoples had a desire, very crudely expressed it is true, to make their dwelling places individual and of interest to themselves. A rude doorway, hewn from a panuie tree, was carved in a curious notched effect of geometric design. A little stool was covered with the skin of ante- lope or deer; it too was decoratively carved. The jungle grass, carefully woven for the roof, is the forerunner of the later thatch. With highly civilized races this inborn desire for beauty again finds outward expression in the home but now the setting must be more complex and, from the bewildering variety and range of objects available, the difficulty is to select just those things which will prove harmonious and “right” in order that a suitable and distinc- tive setting for a home and its inhabitants may be created. Charm is not achieved by blindly following the period work of the past. The only effect worth attaining is a gracious and enduring one— one that accentuates the personality of the occupant, as well as the dignity and comfort of the home. First of all, one must answer this question “What do I wantr” There may be decided ideas about the basic period to be used. Perhaps walls of rich brown pine would prove an _ interesting background. Certainly the decorative treatment of walls, as well as the height of the ceilings and the general size of the room, re- quires careful consideration. Should drapery and rugs be strongly contrasted in color, then one will accentuate the other. Again, one tone throughout may be better with the particular furniture to be used; the effect is softer. In this way a general idea is worked out. Odd to relate, it is usually by a gradual elimination of previous ideas that a concrete decorative scheme is evolved. All of the essentials having been decided, including the lighting effect upon draperies, it is time to think of accessories, and it is highly im- portant that these decorative objects be happy in their enviroment —that they be a truly intimate expression of their owner—for under their magic, what might at first glance have appeared a slightly cold room becomes a living thing of personality. It is impossible to over-estimate the influence exercised by one’s surroundings. A home furnished with a view to the comfort and convenience of the occupant, and in good taste, is a lasting source of enjoyment and of quite legitimate pride, and it is no more ex- [ 20 | INTERIOR DECORATION re pensive than had it been comfortless, inconvenient and in bad taste. A contemporary fashion is a passing phase, but the choice of a basically correct background and specimens of the best works of art that have been produced in a period of over three hundred years is one that can only increase in charm, rarity and value. [21] CERAMICS FOC CTE Cen) Fee ery! i) i) Le EXETER PAS ne ae Sa oe ce MRA BR, SA SAARD aa Day School DESIGN OF fo) DESIGN RADUATION this year will end, for many of us, our studies at Fawcett. Another school in which we all must study is the School of Experience. Dame Na- t ture is the head of this school, the oldest and most c[o 1 experienced teacher in the world. WHer class rooms are anywhere and everywhere. Her lectures are given to us in her works and these are so perfect that never will any student be able to surpass them. Always willing to receive any of us as pupils, she will only ask that we keep our eyes open and see what is about us; everything has beauty. We go to nature for the best in color and design. The landscape, all above and below it, everything on the earth, even to the tiniest beetle which crawls at your feet, has the beauty of design in the tracery on its back. Oh! the exquisite ele- gance of the butterflies and the flowers and birds. We have been taught here at Fawcett the principles of design with untiring patience and the importance of design has been stressed by our prin- cipal and_ instructors. Just as a good taste for reading may be cultivated, so the appreciation of design. CONSTANCE REED DESIGN Zn 1G CASO NI ON NSIS SINGS IESG Pavel NGLNGs CHO OL WiO RK 4 pee incessant rat-a-tat-tat heard on entering the building makes one think of a factory. No, it is the Arts and Crafts students adding beauty to use, just as from the earliest times man has endeav- ored to decorate his work. A drop of acid, then tap-tap of the ham- mer. This is the way pieces of metal, salvaged from the junk heap, in the deft hands of a craftsman become candlesticks, bracelets, urns of copper, and other objects of use and beauty. ARTS AND ICRAETS it 8 TSF GBT ghost Pigs St Sx STUDENTS AT WORK AGT HEOW HE ee payescioal [ 26 ] AA Small. Garden— Fi a rs TES ETE ( 4 Ly Rol FRCL ROTA ey RR ee pnic th er ey pena: oS fae ere et eee EZ CUZAR KOR tS LEAS LASS oe aye (Crea eR CiH 1vISE Cul UR AL erik eer eRe eeN erry OL UslS— li HARDIN, ADUPN SPEER rid 2 it THE MASQUE BALL Costume Design! The very words conjure up visions of be- ruffled Colonial dames; of high-waisted ladies of the Empire period; of medieval damsels; of the stage, with all its pageantry of colorful garb of every age and clime! In fancy we hear the swish of satins and the rustle of taffetas and revel in all the rain- bow hues that the dye-pots of the world have ever produced. Usually the designer is too busy creating apparel for her contem- poraries in every walk of life to delve into those more fanciful fields that appeal so strongly to the imagination. For interesting as it is to evolve smart fashions of the here and now, the “fancy costume” has a fascination all its own. Thus it is that when our Fawcett Annual Masque Ball approaches, the classes in Costume Design fall to with increased enthusiasm and giving their fancy full rein, vie with each other in creating their designs. And from this friendly rivalry result beautiful designs. The shimmering beauty of the Rainbow, with hand-dyed colors blend- ing softly together, was a delight to the eye, and our Ginger Ale Bottle should be seen to be appreciated. All of the costumes were clever and artistic as well, and so far removed from the prosaic that they suggested the days of Chiv- alry. ‘To attend our fancy dress ball is not only a liberal education in itself, but an inspiration in the design of costumes. REGINA SHILLCOCK [ 28 ] STAGE DESIGNING musical comedy, belongs to the stage-designer? The players must have an atmosphere created for them against which they can act. The stage designer of the modern theatre HE opening night brings a wild ring of works in an entirely different way than his applause, the curtain is recalled in quick precedents. He uses strong, dynamic lines, succession. How many people ever think that large areas of bright color, and carries through- a great amount of the success of a play, or a out a feeling of simplicity. [ 29 ] ILLUSTRATION SMONEY yy ARES 00 N- DARIED DECORATIVE ILLUSTRATION —Day School [ 30 ] ILLUSTRATION ILLUSTRATIONS BY LAURA WINTERS AND CONSTANCE REED OF THE DAY SCHOOL Fea OPEICERS OF THE +GilnAss= @lesnomEs President_______ JAMES L. BERKLEY, Evening Treasurers of Graduating Classes epee aA E MENA Se hele Interior Decoration. BLANCHE LANSLEY he me cane Dieaeers raha General Art. GERALD W. HESSELGREN CN eres Tega EY Architectural Dept_.MARTIN MARTINELLI ; PEARL P. BROWN Day Class 2 ee CONSTANCE REED Faculty Advisers... } PHILIP M. WAGNER Mechanical Dept._Lro Kasis MARGUERITE MARQUART Costume Designing... CLARA RIZZOLO Banquet Committee Commercial Art...OLGA SAVAGE Ewening 222 Cyrit A. Horn, Chairman Millinery Dept ___Emity R. Natio WiLtiAM G. Leonarp, JRr., IRMA L. Lost Arts and Crafts__._FRANK LANDORAF Daven MARGUERET PIkuTIS. Chairman Jewelry Dept. EpiTH GUSTAFSON GeEorGE NEIL, Davin WALSH Applied Design__...ELLEN CLOVES YEAR BOOK STAFF CLASS OF 1928 Editor-in-Chief atte ome eae IRMA L. Lost Arti, hditor LAURA T. WINTER Associate Editor cu ees Cyrit A. Horn Art Editor 22 2 RUTH UOMS Associat e Editor EDNA HANKENSON Associate Editor. MarTIN MarTINELLI ‘ Faculty Adviser. MARGUERITE MARQUART Faculty 1 d0iser- ee Ipa W. StTRoupD Business Staf— STEPHEN P. HANRATTY THOMAS R. JoNEs ELMER BosserT LEWIs ORNSTEIN A AULSCY PHILIP M. WAGNER The Year Book Staff wishes to express appreciation for the cooperation of the faculty, members of the class and under- graduates in helping to make the Year Book a success. LAW CE Tei Bessie slaNinees Dd. Cat Keon. 74 ACADEMY STREET ANNEX WASHINGTON STREET ANNEX 55 ACADEMY ST. MAIN BUILDING 27 WASHINGTON ST. ANNEX [ 32 ] GRADUATING CLASS OFFICERS Edna Hankenson “Ed” Costume Associate Editor of Year Book Gentle and sweet but hard to defeat. James L. Berkley “Tim? @OA a Irma L. Losi “Irme”’ Mechanical Costume Class President. Editor-in-Chief Fraternity News Editor-in-Chief of Year Book Sweet and attractive always dependable. Few things are impos- sible to knowledge and skill. He earned his honor! Cyril A. Horn @AX Gy General Art A keen business man President of Phi Alpha Sigma Business Manager Frat News Stephen Hanratty DA “Steve ” General Art Intellect and talent combined. Business Manager of Year Book Eel Top Row, 1 to 4—Second Row, 5 to 8—Third Row, 9 to 12—Fourth Row, 13 to 16 [ 34 ] _ N Sy 10. 24 GRADUATING CLASS .. JOSEPH AMLICKE, JR. Amy Architecture A quiet power. DANTE ARACE “Dan” Applied Design Class Treasurer. Dan realizes that a little nonsense now and then is relished by the wisest men. DoROTHY S. BREMAN ®AX “Dot” General Art A charming girl is she. RUBIN BRAVERMAN “Rube” Architecture A man’s a man for a’ that. ARTHUR J. BARDO_ Param General Art A gymnast of some ability. EvA M. BENNETT “Eve” Millinery Gentle in method; but determined in action. ETHEL BRICK Viine Interior Decoration An upholder of punctuality. PETER [BILLY K “Notsy”’ General Art Combines music with art. JONAS BROWN “Sultan” Interior Decoration Deep reading is to the mind what exercise is to the body. MARGUERITE BERGMANN “Peg” Costume Design To Paris, to Paris, to study some art, Home again, home again, that’s a good start. EDITH BAILY Mae eda Interior Decoration Her manner is most pleasant and most gay, From her presence one’s desire 1s not to stray. JESSIE D. COEY ed esse Arts and. C@raits Sweet and gentle. . NICHOLAS CACIO Vick” General Art A man of some importance. . ETHELAND CAPEN “Chaperon”’ Interior Decoration To furnish a home will be an easy task. . ELIZABETH CROWTHER “Betty” Millinery Sympathy steals the most guarded of hearts. . ANN.CONKLIN “Ann” Millinery Better late than never, so says the proverb but not the office. Piet 2—Fourth Row, 13 to 16 , 1 to 4—Second Row, 5 to 8— Third Row, 9 to 1 op Row T [ 36 ] eles Pes ee TG 16. . JOSEPH CASSINI “Gash” Architecture Though Vanquished, he could argue still. MARY CORBETT NY ae Interior Decoration A smiling happy Miss. . MAE CONRAD “Mae” Costume Design Designer when not keeping house. ELLEN CLOVES “Duchess” Applied Design Our camp fire girl. NICHOLAS CIOFFI “Sheik” General Art He draws attention. RUTH COTTINGHAM “Smiles” General Art Continual cheerfulness is a sign of wisdom. PAS ANGELA DONAFRI “Angie” Costume Design Gentleness is a captivating grace. ESTHER DAHLGREN “Estatre”’ Costume Design Is she sweet as she is faire? It’s up to you to ask Estaire. STANLEY P. ELSMAN “Smiles” . General Art With song and laughter let our wrinkles come. . HAZEL EVERTZ Haze’ Applied Design To China to teach the Chinese how to paint on China. EDITH GUSTAFSON eGust Jewelry Design Better than good a designer and writer JOSEPH A. GONNELLI VJtoey Costume Design Vice President. Unanimously voted the best fellow in the class. OAS LESTER G. GREENGROVE mDOC. Architecture The Class Beau Brummel. HARRY I, GOLDENBERG “Dreamer” General Art A golden disposition. MILDRED HADFIELD “Milly” Costume Design Has been wanting to desert us for the last few years, but we are glad to say she is still here. MAuD A. HORNER “Maudie” General Art Always willing to do her bit. 376) . 2 aa a. Bab as atte Sorc a ie 13 to 16 ’ Fourth Row 5 to 8—Third Row, 9 to 12 oJ Second Row , 1 to 4— Top Row r [ 38 ] Gn e2ss ey. . GEORGE T. HECHTEL ST éck? Architecture Behold! An encyclopedia walketh. . JOHN HOMLISH “Valentino” General Art Work makes the man. . ANNA HARTOS “Ann” GeneralArt Good to everyone. HOWARD J. HOPKINS “Hoppe” Mechanical Style is the dress of thoughts. WILLIAM HIRSHFIELD Te Arts and Crafts A word to the wise he has often said ) Be sure you are right, then go ahead. MARION HAGENBUSCH slinesVirs™ General Art Like a soft waterfall. MICHEL ILLAN “Frenchie” General Art Seldom seen, but often heard. MINNIE L. JEFFERIES Nae Arts and Crafts Perseverance is the keynote of success. THOMAS R. JONES Loni General Art Asst. Business Manager of Frat News. A post specialist of ability. Pp Pp y REBA JOHNSON “Reba” Interior Decoration Always ready to help those in need. . MARGARET A. JORDAN becom Costume Design A dancer as well as an artist. ROBERT JONAS “Big Boy” General Art Above all; A man’s Man. SIDNEY A. KNOLLER “Std” General Art Adjectives such as Clever, Witty, Talented, etc., are befitting. ROSE KETTEL “MaryPickford” Interior Decoration Very popular, and justly so. JENNIE KEIM er liiise: Costume Design Timid and retiring, but reliable. . LEO KABis ®AS “Cabbage” Architecture I will sit down now, but ye will hear me. [ 39 ] ives SSS Oe aA aE dK Top Row, 1 to 4—Second Row, 5 to 8—Third Row, 9 to 12—Fourth Row, 13 to 16 [ 40 ] 1G AC. 12 . DONALD KIRKPATRICK “Scotty” General Art Dreams spur us on to our goal. . WILLIAM C. LEONARD, JR. “Bull” General Art Advertising Manager, Frat News. For he’s a jully good fellow and well liked by all. . JOHN LUNDBERG “Lindbergh” Architecture There is no wisdom like frankness. . EDWARD LOMBERK “Silent” General Art Unassuming and genuine. . KATHERINE C. MAURER “Kay” Costume Design Batiking and painting now keep her so busy, If she doesn’t take care, Iwill soon drive her dizzy. . THOMAS MASTERSON ielioms General Art “Chevy”—Always on high. . JANET MCENROE “June” Millinery A hard worker—a good student. . ALEXANDER T. MAKER “Songs” General Art Radio singer of a rare specie. . FRANK LANDGRAF “Frank” Arts and Crafts A master craftsman, he surely is. . MARTIN MARTINELLI “Marty” Architecture A Scholar and a good one. ANDREW MCGALL “Andy” Architecture And everything handsome about him. GENEVA MORAN (Jens General Art Always there with a smile. . GUISEPPE NASELLI wl Oce Modeling The true soul of an artist. . EMILY R. NALIO “Eva” Millinery It’s a friendly person who can boast of many friends. . HELEN NORTHROP eRe Interior Decoration Needs no reminder to practice the age old adage— Smile and the world smiles with you. . CLAUDE ODESKY “Claude” General Art Success is the reward of hard work. eae Top Row, 1 to 4—Second Row, 5 to 8—Third Row, 9 to 12—Fourth Row, 13 to 16 ele 16. . ANDREW PALMIERI WEA Architecture A. goal hard to reach is the one worth while. MARIE K. PELTZ “Me” Costume Design Quiet as a mouse 1s she Very sweet indeed say we. (Poetry?) JOHN A. PASHKOW ETI Architecture Thought is deeper than all speech. MARIE RUFF pools Interior Decoration Always happy and attractive. MABEL F. REISIG “Mabe” Costume Design Art and art and still some more, Of it she never seems to bore. Ambition—To model for sketching class. BEN RAVENITZ “Raven” Architecture A little work and all play makes for Raven a happy day. . CLARA M .RIZZOLO ie ete. Costume Design Both neat and efficient is her way What more, we ask you, can we say? . FRED SIERCHIO “Sier’ Architecture There is none like him, none. . EVELYN MEADE AM Interior Decoration Up to the minute although she looks timid. ALPHA SMITH yah: Millinery There is little as useful as silence. THECKLA SWENSON elick. Applied Design Another useful art is that of pleasing. . VICTOR SLIWISH SV Cu Commercial Art Poster Prize Winner. If you think a contest hard to win, watch Victor win it. JOHN J. STURDEVANT “Sturdy” Architecture A young golden haired Apollo. . Mis HELEN HALL SMITH .“Smitty” Costume Design Dreams are the fruits of a busy mind. . PAUL TITCOMB VETTES Jewelry Design The active mind has no time for mischief. HAZEL SHEA “Hay” Costume Design A lovely girl is above all wealth. [ 43 ] ae Fourth Row, 13 to 16 ird Row, 9 to 12 5 to 8—Th 1 to 4—Second Row, Top Row, 44 | L TO; ite eZ ee 14. . PETER TOBIA “Toby” Architecture The reward of a thing well done is to have done it. CHARLOTTE SCHOLZ “Chicky” General Art Her work shines with bright colors. ROSE S$. SALERNO “Chickte”’ Costume Design Awarded first prize at Annual Masque Ball, 1927 and 1928. Designer of masks is her ambition, After winning prizes she made her decision. . LIETTA TROIANI wivces Costume Design Teaches kiddies by the score, Then to school to learn some more. _ BLANCHE LANSLEY “Billy” Interior Decoration Si A very good collector; antiques and otherwise. SEGINA A. SHILLCOCK “Reggie” Costume Design School News Editor-Fraternity News. An unfamiliar sight—Reggie without a smile. JAMEs L. STANTON eu 277 Mechanical Occupation is the armour of the soul. WILLIAM VAN DoRN ane Architecture Virtue is his own reward. : FLORENCE VETTER EGS Costume Design The all-round good sport. Vet’s a girl of that sort. FLORENCE WILKINSON “Wilkie” Applied Design Has a weak spot for the Irish. (Always spilling green paint.) RACHEL ZUCKERMAN thae- General Art Millinery attracts her although it is not her course. RICHARD ZUSCHLAG ZA ee General Art Perspective is his meat. DAVID WALSH a ee ee Poster A character from “Joisy City.” LAURA WINTER ®A “Shush”’ General Art Such joy ambition finds. . EDWARD LOMBECK GHae Generaiaatt Slow but sure. GIRARD W. HESSELGREN “Jerry” General Art ®A Work reproduced in national magazines. | We love him despite his arguments. [ 45] Top Row, 1 to 4—Second Row, 5 to 8—Third Row, 9 to 12—Fourth Row, 13 to 16 [ 46 ] SS LO: Hae . ELIZABETH BALDWIN “Libby” Commercial Art On one she smiled and he was blest. . ELMER BOSSERT bose Commercial Art With the girls he is popular. ANTHONY CHUFI “Chuft” Commercial Art Tall, dark, handsome and how! ISABEL COOKE “Cookie” Poster Her voice was ever soft, gentle, and low, an excellent thing in woman. HELEN DONAHUE ane Costume Design Bright and witty and very pretty. AGNES DOWNS Wilge Costume Design Better late than never. CLAIRE DUFAULT “Clatre”’ Poster Patient and proper. ALICE ECKER 7a Poster No violence can harm the meek. PAULINE FRANCIS “Paula’ Poster Witty and wise. LOUISE HUMPHREY “Bonny” Poster When her delicate feet in the dance twinkle round. IRENE KRUPICKA “Rente”’ Costume Design Not much talk, a great sweet silence. . LAURA LOWE Lorry Costume Design Better be small and shine, than be great and cast a shadow. KATHERINE LOWRY (Kay? Commercial Art She was a phantom of delight When first she gleamed upon my sight. BETTY MAFF “Shrimp” Poster A merry heart maketh a cheerful countenance. . GEORGE NEIL “Georgie” Poster In modelling he excells. JOEL ORNSTEIN “Lewis” Costume Design | Original inspiration for “Green hats.” [ 47 ] Top Row, 1 to 4—Second Row, 5 to 8—Third Row, 9 to 12—Fourth Row, 13 to 16 [ 48 ] UO}. iyi P23 ey 14. ro: 16. WILLIAM PIERCE Piterces, Costume Design Answer to the maiden’s prayer. 7 . LILLIAN PLANK he Poster Bright was her face with smiles. . MARGARET PIKUTIS “Marge” Poster Originality is thy name. EARLE QUACKENBUSH “Quack” Costume Design His life’s occupation—studio parties and jewelry. . BLANCHE RAWITZ “Mona Lisa’ Interior Decoration And she has hair of auburn hue—take care. . IRENE RODECKI 7 “Trene’’ Costume Design To know her is to love her. . CONSTANCE REED “Arraminta”’ Illustration Deeds are better than words; actions mightier than boasting. MOLLIE SAVAD “Farina” Costume Design Good things come in small packages. LILLY SITTARD mela i Costume Design Sweet promptings unto kindest deeds were in her very look. RUTH SALISBURY uri Costume Design Oh, spirits gay, and kindly heart, Precious the blessings ye impart. HELEN SLATTERY AS Costume Design Her good nature is like the sunshine Shedding brightness everywhere. RUTH TOMS LOmss Costume Design Her memory long will live in all our hearts. GERTRUDE UCHTMAN eireria Poster I am a woman—then I think I must speak. DorROTHY VAN RIPER “A BY Poster We have much to enjoy in the quiet And retirement of our own thoughts. EMILY WARNER laine Costume Design Globe trotter with a nice disposition. CHARLOTTE WEBER “Lottie” Poster Love all, trust a few, do wrong to none. [ 49 ] WEA ce Re 2G OLk, DAYS CH COU STILL -LIFE Es We ieee Rodel DIibSeBY STUDENTS OF eC Rem Ree DA Ye cGi7Aso io (UNG SLE L LCIPE F all forms of art, water color is perhaps the most refreshing. Oil painting may bring more inspiration, more depth of thought, but in a water color a freshness is gained which is never attained with oils. (Sst | OIL PAINTING OULSSPAT NIE UNGS 6B oy DAY Srl Ur DENS las [ics ia} HISTORY OF ART ei banging doors and cries for lost coats and hats and much pushing and shoving, students finally manage to avoid each other’s arms and legs, and with coats half on and with hats in hand to dash for vs }, the door and down the street. What is it all about? A Fawcett class out for aire Goodness no! Out for knowledge. Travels ahead. Not only through Europe, Asia, and Africa but up through the ages. Once a week the students leave their own attempt toward the artistic and go across-the street to the Academy Street Annex, there to learn what others have done in the ages past. One can learn these things from the books, but how much easier it is to learn that Rembrandt was a Dutch painter or that the Pyramids were Egyp- tian from lectures by our interesting instructor,—each lecture illus- trated with lantern slides, giving double advantage of the spoken word and the pictures. The history of art from the first clumsy attempts to the present day modern artists comes clear before us. Is the history of art course a success? We all answer, “It is.” Ay LILLIAN PLANK CONTESTS 1927-1928 Book JAacket—Howard R. Garis SMALL GARDEN COMPETITION—Newark Gerard Hesselgren..... 1st prize $15.00 Garden Club August Schnitzler. . . . .2nd 4) 10.00 Bruce Harden....1st prize $ 5.00 aa rie Fiorito. . apes 3rd 5.00 Allen Speer. . . lst honorable mention izabeth Baldwins. .. 4th 2.50 ‘Albers Ree LEP Meare Isabelle Cooke........ Ath pers 2.50 DRAWING OF Esk1mMos—Bamberger’s Poster CoNTEST—59th Anniversary Sale Constance Reed....... Ist prize $10.00 of the Kresge Department Store George Foy.......... 2nd “ 10.00 George Foy.......... Ist prize $25.00 4 Joseph Simcich...... Hd 11 SON 15.00 Otto Sommer. seen eee. Ist prize $15.00 Matthew Milewski....2nd 10.00 “HAS hg) Pony ck eh SED Newark Art CLug Poster Theatre Virtuosity in Painting Fred Maurer......... Ist prize $15.00 Raymond Vartanian...1st prize $ 5.00 Margaret Pikutis......2nd ‘“ 10.00 August Schnitzler......3rd “ 5.00 ART IN GREECE Isabelle Cooke........ Ist prize $ 5.00 Rin eaea Mt hod GRO B ater Machine Tool Co. NEWARK MATERNITY HosPITAL ConTEST Edwin Swezy.........1st prize $15.00 Blanche Rawitz.. .Ist prize ae 00° Philip Taylor.........2nd =“ 10.00 David Walsh...:..... cand 4 5.00 Norbert Damm........3rd “ 5.00 [ 53 ] PAINTING We started in the second year, And went to meet our teachers. The work seemed strange to us at first, A lot of poor, dumb creatures. First, Mr. Cimiotti comes Then next comes Mrs. Stroud, And when these two get through with you You'll grab the nearest cloud. Put in your darkest dark right away The teachers all would say, ‘Then work up to your lights and shades And leave it be that way. Now model it, model it, make it round, Pull out your high lights too, You work as awkward as a clown, Don’t come in class to chew! Now, Mr. Cimiotti said, What makes you look so glum? If you would do what I say do You’d make that picture hum. You told me make the picture hum, I’d rather hear it sing, And I’ve been listening since you left, But haven’t heard a thing. Now when you go to paint a tree The leaves all disappear, And all you see is one big mass Of lights and darks, from here, You are too neat, your work looks like A piece of polished brass, Don’t slick it up, just slash it in, Now, that looks more like grass. EucEnE A. Burkes. [ 54 ] CAST DRAWING When we entered Fawcett Art School In the first year class by day, We went up to Mr. Kleinfeldt, And right there we had to pray. ‘“Now sharpen up your charcoal “Like a butcher does his knife, “And we'll start with Mr. Adam, “Later on we'll draw his wife.” Oh, he’s strict and then he’s joky, There’s no finer man I know, If you just work and study You will always find him so. He will always come and help you When you’re stuck deep in the mire And he even asks the janitor To please stir up the fire. Now if I place my charcoal here, And draw from “dare” to “dare” This horizontal line would run Right smack into the hair. That’s just his way of speaking, But we always liked him so And all the other teachers Are just as nice, you know. EucENE A. Burkes. FAWCETT SPIRIT There’s one thing that all students have, From first year until fourth That brings them from the east and west, And from the south and north. It keeps them busy al the day And _ working by the rule It’s just the simplest sort of thing It’s the “Spirit of the School.” CLASS PROPHECY Day ScHoo , 1928 VEUereee gi tetndy IFTH Avenue was in a state of confusion, an excited crowd thronging the sidewalks as I was making hasty steps toward Greenwich Village , very much elated over the fact that I had been asked to a studio party (ine for the Earl of Quackenbush. My heart actually jumped when I thought of meeting the Earl in as cozy and quaint an environment as Margaret Pikutis’ studio. A very boisterous person pushed me in the back. I turned around not intending “to whisper sweet nothings in her ear.” It was no other than Alice Ecker—now grown very stout. She pleaded guilty for the violent way in which she had treated me and later told me she was designing posters for a baby talcum powder firm. In the first car of the parade I could see Colonel and Mrs. Charles A. Lindbergh. Mrs. Lindbergh, you know, was the former Lilly Sittard. They had just arrived from Paris in their private plane “Farina.” Kay Lowry, Ziegfield’s latest find, was with them. Fifteen minutes later I was tripping the light fantastic up the stairs of the studio. An echo of a hearty laugh reached me. That was Constance Reed, much in the limelight since last year. When hunting big game in Africa she made a very clever etching of a mammoth charging. I saw first Anthony Chufi, the distinguished author. He apol- ogized for not coming down to see me but told me he was very busy writing for “True Story” magazine. In the course of conversation I remembered that I had for- gotten a package of “Brownies” I had bought uptown especially for Helene Slattery. George Neil was there “with spats on.” He was flattering Mollie Savad so much I wondered whether she would be able to get her hat on. I noted a number of Pauline Francis’ landscape paintings graced the walls. She was there, as ever, with a cheerful word. | Miss Pikutis, the great artist, induced us to stay and join a theatre party that evening at Roxy’s. We were delighted to learn we were to see Louise Humphreys, who took Mademoiselle Gam- barelli’s place. David Walsh was on the program as a special feature, to show us some new and clever tricks in chalk-talking. It was quite late when Laura Lowe and Blanche Rawitz came in. Laura had been busy all day selling a book entitled “The Gift of Narration”; Blanche a book on “Etiquette in Paris.” The picture starred Carlton Pierce, the titles by Elmer Pierce. E55] Pathe News showed Laura Winter, the clever little Hungarian artist, drawing to entertain the patients of a certain hospital. Laura was always so sweet and thoughtful. The news also showed the tallest, thinnest woman in the world, but it was really a farce, for it was Charlotte Weber on stilts. After the vitaphone program, in which Betty Maff, fair banjo- ist, gave a clever selection entitled “Kay and I”; Agnes Downs came in. She did not seem to be the least bit hurried despite her lateness. The next morning at breakfast I glanced over the society col- umn of the daily paper. The only thing of interest that I noted was mention of a small luncheon given by Mrs. Russell Egert, at her home in Lynhurst. I wonder if Libby could pour tea with- out laughing. Among the guests was Ruth Toms, the talented cos- tume illustrator. Irene Rodecki called me later and asked me to have lunch with her and in the afternoon go for a drive. I was proud to accept, as Rodecki the great costume authority is on the lips of nearly every fashionably dressed woman in New York. We had luncheon at the Du Bourgogne Tea Room, and there found Claire Dufault had a charm shop in connection with the tea room. I could not resist purchasing a small yellow green bowl, decorated with blue violet notches—it had a Fawcett at- mosphere about it somehow. . Of peculiar charm was a handsomely bound children’s book, illustrated by Ruth Salisbury, with special decorative features by Irene Krupicka. Some of the objects for sale are decorated by Isabelle Coke and bring enormous prices. A “preferred blonde” came in just as we were leaving. She was Gert Uchtman, and was evidently anticipating selling some of her lovely landscape watercolors. Irene and I went to see Dorothy Van Riper and husband first. She served some delicious muffins her husband had baked. Dorothy was lucky in getting a baker for a husband. Passing through Morristown we saw Lillian Plank, knickers donned, painting a large sign poster for “Red Hair.” ‘What is this ‘Red Hair,’” Irene asked me, to which I could give no satis- factory answer. Seeing we were so near to where Edna Hankinson abides, we thought we might as well drop in and see her. She had “gone to the dogs,” for we found her raising pedigreed pups! Joel Ornstein, we found in a Newark studio. Just then he was painting a modernistic poster advertising “Gentlemen Prefer Blondes.” Helene Donahue was the inspiring model. EDNA HANKENSON, ’28 [56] he tin 3m mares Ye ( eens | { Hepetn Pee Eee Ce Le) ae =f =] aw | =. ce emeith Pa epes— S| (Ch Ss Or eter et ta: NCU ase meet) im rebels POU LI Vl LS Lol LL ae Pcie Say ' Aco Srocohee tet oi RTL be La tre | Ss ea comesemees f [| GE BB Ey er ey me pe Me RD 8: gee c— — Sa aeee cyte see = SCELeee girder or column that is to be used in con- aa = = Se = eg reas ke = SS SS Sa tee 2 remes ‘ ss ee a, ao AY | os i Te eee hee ’ mG i: Eada ie | Ca PE 7 SEED | ett FL ——— 7 = TiS es as Ss oe J eS [Sone ee ae oe eee as a Se as pues e 2S. Soiree [ee et ; FL ay BS Ei re | Ai | igs Gk i | | Ay i a rn ns i po Sle MI of; en ae Pitt tl : i “Nv af or iota nated Lal td: Y {| r Saas SY I A Aw we pe; Poorer Ics ory) THE AGE OF STEEL é He oe Ss —_ = cose Iq: : eS et ist ry at DE FER DS RS ann Tow Lat Doss As the average person going to and from his place of business casually gazes up at the huge skyscrapers lined along the way, Each type of beam, does not fully realize the important part that steel structural design struction must be separately plays in the construction of these buildings. S cqrincrnenreneetarinassoe .s DiPietro A ‘ RramAa SYES GA SOASALSLS SLANE sa at 1: us @ l In figuring the designed and detailed. stresses and strains on a steel beam the designer must take into con- sideration the weight of the beams designed, floors, wooden floors, partitions, the weight of cement ceilings, etc. ) plaster Another important factor to be taken into consideration is the pressure of the wind on the structure. The study of steel structural design is involved in the construc- tion of huge skyscrapers, bridges, elevated highways. elevated railways and ) tunnels During the last sixty years, the steel industry has grown by leaps and bounds until at the preset day it has become the basis of modern labor. JAMES L. BERKLEY, President Mechanical Class ’28 [57] THE OFRICE (A Play in One Act) (Time—the present. Helen is working assiduously at her desk. Miss Marquart enters. ) Miss M. Good morning, Helen. HELEN. Good morning, Miss Mar- quart. Miss M. No, Helen, I don’t want to be disturbed today. I am very busy and must have the schedule finished this after- noen. You understand? HELEN. Yes, Miss Marquart. [Exit Miss M., to her private office. | [Telephone rings. Helen picks up the receiver. | HELEN. Will you speak a little plainer. What? Who? No, this is not the Morgue. This is the Fawcett School of Art. [Hangs up.] [Enter the plumber.]} PLUMBER. Good morning, Miss. Heten. I thought you were to he here on Friday. PLUMBER. Dat’s so, but I forgot zee hammer, and had to go home for it, and ven I gets back the school was closed. HELEN. Miss Marquart is very busy now. PLUMBER. Vell, I have my hammer this time. [Enter the coal man, the electrician, the carpenter, the mason, the slater, a deputa- tion from the Art for Art’s Sake Associa- tion, a hopelessly fat lady looking for a job as a model, a number of ex-art stu- dents looking for letters of introduction, and Mr. Kleinfeldt with an arm full of broken casts, including a head of Julius Caesar. | Mr. K. [Very excited]. Where’s Miss Marquart? HELEN. She is very busy now, Mr. K. Mr. K. Ah, she’s always busy. I must see her right away. PLUMBER. Say, boss, you cannot see Miss Marquart. I vass here before you. Mr. KLEINFELDT. Before me? Are you crazy? I’ve been here for forty years. PLumBErR. I don’t care if you were here for four hundred years, I must see her first. Coat Man. Listen here, I must see her before any of you. If not, I’ll take back the coal and you can all freeze to death. Mr. K. You must not take back the coal, and you can see Miss Marquart after I find out who broke those casts. [Lets one of the casts fall on the foot of the fat lady. She swoons and falls into the arms of the plumber. He becomes embarrassed and lets her fall on the floor. Miss Mar- quart hears the noise and comes from the next room. | Miss M. Anyone wish to see me? [She sees the model on the floor.| My goodness! What’s the matter? PLUMBER. Julius Caesar stepped on the lady’s corns, ma’am. [The model is revived.] Miss M. Now, what can I do for you all? PLUMBER. If you don’t let me work on the pipes today the school will be flooded. Mason. I want to get started, too, and finish the breach in the wall before the frost comes. SLATER. If I don’t get started the rain will come through the roof. Coat Man. I want to know who or- dered the coal. If I don’t find out I'll take it back. StrANGER. And I have called on be- half of the Art for Art’s Sake Association. Crazy Man. I have heard that a few of the students dies here. This is my card. We bury our clients very cheap. Mr. K. And I’d like to know who broke those casts, : CARPENTER. I’m ready to fix the door. [Miss Marquart looks bewildered. The telephone rings. | HELEN. No, this is not the Lunatic Asylum. [Hangs up. The bell rings again.| Yes, she’s here. Miss Marquart, you are wanted at the City Hall. Miss M. [Goes to the telephone]. Yes, my car is here. I have a few minor matters to deal with, but I’ll be there in a quarter of an hour. [Miss M. hangs up the receiver, gets everything straightened out, puts on her hat and coat.]| Miss M. sible, Helen. HELEN. All right, Miss Marquart. I’ll be back as soon as pos- [58 ] ARCHITECTURE EGISTRATION week, five years ago, found us among the many ambitious persons taking advan- tage of the opportunities extended by the Fawcett School. af The enrollment in the architectural division be- ing large, we were divided into four classes. During the first year our instructors were besieged with innumerable questions, both wise and otherwise. Symbols of Materials, Roof Intersection, Detailing, Small Bungalow Designs, the Classical Orders, and a course in plane geometry prepared us for our future work. The first year, having served as a testing ground of the students’ ability and sincerity in their work, left us with a large second year class to proceed with the study of the design of the classical orders. We had an opportunity to plan a residence and many and varied were the ideas submitted. The interesting but mysterious subject of algebra bewildered us at first, but after becoming more acquainted with its use, cumbersome mathematical problems met in general practice could be reduced to simple equations producing greater results in accuracy and speed in working. Loft buildings were designed during the third year. Libraries produced during this term were also of various designs and arrange- ments, representing the reward of generous reading. It was dur- ing the preparation of sketches for these buildings that we received our first dose of the chief draftsman and his dreaded marking pencil. Many designs seemingly unsurpassable in composition, were discarded after criticism, to be replaced by more balanced and effective embodiments of good practice in architecture. The builders and architectural apprentices in the class received practical information on estimating. The interpretations of the building code and specifications were also found to be extremely beneficial to the practicing student. In the fourth year a collection of perspectives and renderings embodying views of country estates, town houses, shrubbery and interesting details of buildings were used in the yearly exhibit, several of which were later placed on exhibition at the Newark Museum. Lectures were given on building materials, various kinds, grades and properties, and discussions were held on the manner in which materials are specified and incorporated in a building. Having finished the Essentials of Algebra, and after a short review, we undertook the rudiments of trigonometry, and still later, advanced trigonometry. With this knowledge in hand we were fitted to undertake the necessary calculations in preparing plans for [59 ] sites embracing angular conditions, which we had heretofore been unable to cope with. Algebra was freely used to deduct the de- sired results and the study of logarithms enabled us to arrive at rapid and accurate calculations met with every day in the practice of architecture. Strength of materials and structural design were taken up in our fifth year. Practical problems occurring during the day amongst the practicing students were discussed and worked out in’ connec- tion with the regular work in our curriculum. Again our knowl- edge of algebra helped us. After future study through practice and the use of the facili- ties of a post graduate course in the atelier and structural design we will become prepared to assume the responsibilities as future architects of the city. We hope to realize the fulfillment of the slogan “Newark Knows How” in its architecture. GEORGE T. HECHTEL MILLINERY “The flowers that bloom in the spring, tra la! have nothing to do with the case,” for the flowers bloom throughout the entire year in the millinery studio of the school. There was an old dingy corner that was left when the millinery department got its assign- ment of space, but now the light is good and the tables are fine, and in the evening we find it a very pleasant place to work, with bright colors and interesting materials. The trimming of hats, which in former years meant millinery, has changed to the making and shaping of felts and straws from the flat pieces of material to fit each person’s individual taste, style, and personality. So, with the shaping of hats into interesting lines and the dealing with color of various tones, we, in the millinery depart- ment, are developing art products as truly as those who work with brush or crayon or pencil or any of the so-called artists’ materials. ANN CONKLIN [ 60 ] ARCHITECTURE itecture Arch [eotg EVENING MECHANICAL CLASS OF 1928 1HE Mechanical Class of 1928 entered dear old Fawcett total strangers but the ensuing years have wrought a bond of friendship deep and true. We began our final year of study with a vision of success drawing near. Looking back we realize that our studies have been a pleasure and will afford many fond recollections in the future. As graduates of the Fawcett School of Industrial Arts, we have reason to feel proud of our accomplishment and due to the pains- taking and untiring efforts of our various instructors our past has proven beneficial and our future should be well assured. All we must do is work hard. The Mechanical Class of 1928 takes this opportunity to express its appreciation and good will to the Principal, Miss Marguerite Marquart, and the Faculty of the School. JAMES L. BERKLEY, President Mechanical Class ’28 [ 62 ] COSTUMING NHIE fingers and minds of many unite in making the citizens of America the best dressed in the world. No matter where one turns one cannot escape seeing examples of the costumer’s art. The neatly dressed =— Woman, the well-groomed man, both expressing themselves in their clothes. Some are born with a natural instinct for choosing the right clothes, but others must use the shop win- dows for inspiration and turn as children to those who know best. Different figures and colorings, even personalities, must be considered in the designing of ready made clothes. Thus the de- signer of costumes finds his place in the world satisfying the de- mands of the hurried mortals who must be smartly dressed. The Art School gives a foundation in this work. Here we learn the blending of color and fabrics, beauty of line, and study the intricately cut smart costume, the conservatively neat one and so on down the line until each type is satisfied. HELENE SLATTERY RESEARCH WORK AT THE MUSEUM ‘THE Museum holds a mine of helpful material for the Art Stu- dent. The costume illustrator finds it especially attractive because of its variety of old costumes and jewelry. The mode in present-day ornaments has been copied in part from the East Indian jewels. History repeats itself and so do styles, and there is no better place than the Museum to get inspiration. [ 63 | COSTUME DESIGN Colonial Minuet. EeViEEN DN Ges'C. Ht OO le tas as [ 64 | MODELING The art of sculpture is so old that no one can say for certain when it began; probably with the first child who discovered a lump of clay. The sculptor has left us the record of the civilizations that have come and gone. Babylon, Greece, Egypt, Italy, all had their sculptors to write their histories in marble or bronze. Indeed it would be safe to say that we can judge not only the culture of a people but its prosperity as well by the quality of the sculpture. If a time ever comes when the historian will be at a loss to know what kind of people the Americans were, he need only go to her sculptors to find out, as we have found out about the ancient races. Each generation must educate its artists and appreciators of art, and so we are being educated in the modeling room at the Academy Street Annex. Here we have labored on our way to fame from the ornament-antique life to modeling from the figure, bas reliefs and portrait busts. Ours has been a rich training! { DT At yar Crt ©) OD WoO Rak ADVERTISING FRANCES HERR-CooH| BOOBRBVACGK ETS 8D BSalaG Neh Dany AL DIV. Ea Rats Le seleNace S TiO DE Ntd'S —« THIRD. Y BeACR® DLALY Dan 1 Shy sO Ty [ 66 ] PORTRAITURE OME think that a likeness and a portrait mean the same thing, but there is a great difference between them. A photographer can get a likeness, but it takes a psychologist to make a portrait. A portrait could be a very poor likeness, as a likeness could be a very poor portrait, but a portrait ought to be a good likeness. The por- trait artist must recreate in paint, bronze, or marble the personality of his subject. [ 67 ] FIGURE SKETCHING es cena orale . FEV EN UNGES GAO OT asst GaDibeNs Ka) WOR [ 68 ] t poser fe aE EAW CE RE ATELIER } iI WRS one enters the Fawcett Architectural Atelier one’s thoughts go back to Paris—the home of Ateliers and the Ecole des Beaux Arts. The atmosphere of cheer- ful industry, the good-natured criticism by one’s fellow students, the helping hand and guiding influ- ence of the Patron are as truly represented here as abroad. ‘The hal- lowed works of former students adorning the walls heighten this illusion while serving as an inspiration to those who are ever strug- gling to pacify that exacting mistress—Architecture. Tuesday night being given over to criticism, our Patron, Mr. Fougner, reigns supreme. Wielding his pencil mercilessly, he points out flaws in what we thought were masterpieces and draws in a few minutes, with infinitely better results, what it took us hours, some- times days, to accomplish. Friday night finds the air filled with the steady hum of industry, as each student endeavors to crystallize his ideas through the medium of pencil and paper. Wails of despair and grunts of satisfaction mingled with the scraping of pencils attest to the varying degrees of success reached by the individual student. As the school year draws to a close the students are still eagerly striving to keep abreast of the ever increasing demand for beauty and fitness in things architectural. JOHN McLeEop [ 69 ] ADVERTISING OES it pay to advertise? Yes, by all means! Cer- tainly advertising today is the quickest and surest way to arouse a desire in the public to possess the article for sale. It matters not whether it be a brand Se) eae of cough medicine or a make of car, the “ad” must laud it to the skies. The old saying “Repeat for emphasis” is proven true in advertising. Naturally, the more an article is advertised, the greater is the possibility of the public demanding it, and that is where results are realized which please the seller. Our great problem was to make our advertisements artistic and yet not lose any of the commercial value. We were spurred on by the Newark Art Club Lecture Poster Contests which gave prizes and honorable mentions. First we made rough sketches of ideas in color and developed the best into artistic posters which told a clear story. Our interesting class problems such as designing book jackets, folders, car ‘‘ads” for subjects like speed, power, beauty, etc., kept us busy thinking up new and interesting layouts. It was good sport, though hard work. Some of us who are going into commercial advertising work will be glad to have some of these smaller posters as well as layouts to use as samples. CLAIRE DUFAULT 728 5 ? aS sonst By or ‘ ss RW i . | AWERIQN RAILWAY = ESS | ie Siesta Re ae STE [ 70 ] x3 Bamana ADVERTISING a: OF GREEC LIN VIRTUOSITY IN PAINTING- DEC. 61927 IN HOME IN) DRESS GRACE CORNELL | NEWARK LIBRARY FEB.7.1928 8:50PM NEWARK ART CLUB POST WR Sm O ES DAY ANDI E VE NULN.G SUASSE SUN ADVER DISING DESIGN feria ADVERTISING WINDOW CARDS Day School (e725) POSTER A Poster must have individuality of thought. A Poster must have imagination. A Poster must be simple in line and color. A Poster must have accurate drawing and good spacing. A Poster must have advertising quality—must command _ at- tention. Beauty and advertising quality must go hand in hand. Too often the general public passes an opinion on a poster for its advertising quality alone, forgetting the combination of beauty of imagination and simplicity of design. DAVID BAILEY WALSH First Prize Poster Illustration Contest. Subject, “The Garden of Eden.” Awarded to Fred Maurer by the management’ of the Rialto Theatre. L734) DECORATIVE FIGURE bit keds Ont rEafeara tgs tet ae fe ue Se uur ay DAY SCHOOL EU Ho Ale ob Ree [ 74 ] COMPOSITION Sah ae ASS RN Say ‘ ‘SS oth a - mt xR ay Wey XY S50 4 i RS HE Sie so . Se a i iia SS SS YS eR 4%: iecosingimnceniacosnamyweas nike: oxeeietoemebsera outer i ORIGINAL ETCHINGS-— Evening School J. J. NICHOLS J. W. NICHOLS [7s SATURDAY WORK TARAS SATURDAY’S CHILDREN CLASSES Who can tell but we are harboring budding geniuses in our earnest young enthusiasts of the Saturday Morning Classes. Hundreds of talented children come eagerly trooping to Fawcett to re- ceive art instruction. Classes in design, still life, igure, modeling, cast and landscape are filled to overflowing with these young people. A special class is held in the after- noon to give the more ambitious students an oppor- tunity to further develop their individual talent. APPRECIATION I am proud to tell you that the pupils of no other School in the city of Newark behave like those of the Fawcett School. I am here every week to learn the ways of a trained artist. I like the students and I like the school, and best of all we have everything needed to enjoy ourselves during the session. Fawcett hasn’t any bullies like some of the other schools have. We all appreciate greatly what the school is doing for us, and if I were to write down all the nice things about the school, I would have to write it in book form. BENNIE RASNICK, Age 12 STUDENT TEACHERS The Saturday School has appreciated the help- fulness of its assistants. Day students of the grad- uating class or graduates have been given the opportunity of working with the regular instructors much to the help of the school and themselves. They have discovered that we learn by teaching. FROM NEWARK MUSEUM SPECIMENS [ 76 ] TEXSITEE fie Hie Yer as SCHOOL DA [e774 5 OR STUDENTS FROM EACH CLAS SATURDAY FACULTY AND TWO HON [ 78 ] ADVERTISING aeeccges e RPuUENING SGHOOL-—EDMUND STROBINO We sincerely hope that everyone reading this book will patron- ize our advertisers—and make their investment a profitable one. THE EDITORS. [ 79 ] PHI ALPHA SIGMA HE past year in the life of our Fraternity has been marked. by many accomplishments and by several important changes. The Constitution and By-Laws have been re- e vised and brought up to date. The name has been changed from Fawcett School Fraternity to Phi Alpha Sigma. The finances have been put upon a sounder basis and the initiations have taken on a new dignity and impressiveness. Many new names have been added to the list of members and all these newcomers seem disposed to enter heartily into the Fra- ternity’s activities and to do their share toward furthering its inter- ests. ‘This promises well for the Fraternity’s future welfare and would indeed be a cause of much rejoicing among the individuals of that valiant little band of charter members who formed the tiny nucleus from which the present flourishing organization has sprung. The fame of our annual masque ball has spread to such an extent that representatives are sent by the New York newspapers, as well as those of Newark, to secure copy and photographs of our prize- winning costumes. Many of our alumni would make almost any sacrifice rather than miss being present on so momentous an occasion. While the meetings have not been attended by quite the huge throngs that we feel sure can lay claim to membership, still the mem- bers who have been present have shown a lively interest in all that took place and an eagerness to participate, freely voicing their senti- ments and f requently taxing the diplomatic art of President Appel, under whose patient guidance peace was always preserved and measures discussed and acted upon to the satisfaction of all. The Fraternity has, during its short but active life, filled a real need in the school—the need for social activities among the students who must, of necessity, forego many pleasures in order to attend evening classes. It has not only provided recreation but has pro- moted friendly contacts among the students and faculty that have strengthened the ties between them and have helped to keep alive the splendid spirit of fellowship which has long animated our school. The future looks bright for Phi Alpha Sigma and looking back over her happy and successful history, we feel that we can confidently look forward to many years of usefulness and service yet to come. FRANKLIN C. APPEL, Prestdent STEVE HENRATTY, Vice Pres. ELIZABETH GREENE, Treas. MARIE FIORITTO, Rec. Sec. OLGA SAVAGE, Fin. Sec. [ 8r] ANNUAL EXHIBIT Every year, in the middle of May, when the smiling sun is trans- forming the world into a veritable garden, Fawcett School mys- teriously begins a transformation of its own. Hammers are heard beating out merry tunes all day, embryo artists have turned into em- bryo carpenters, and fashion long tables out of tall desks. The very air igs vibrant with bustle and happy excitement, for the Annual Exhibit of Fawcett is on. From all quarters thousands stream into the school to see the ‘‘master-pieces” of our young New Jersey artists. This year the exhibit will be finer than ever because a new spirit of earnestness of purpose has entered the school. IRMA L. LOSI. SCHOOL MEETING While earnestly engaged at work, The principal came in, “Good morning everybody,” Now,—there’s something in the win’, “T want to speak to all the boys And girls in 102, At 12 o'clock, just stop your work k’en if you are not through.” At noon we quietly gathered there, And all sat just like mice, But soon the principal came in And spoke so very nice. “You are the finest set of folks,” That’s just how she began, “I’m sure there is no nicer To be found throughout the land.” “The Fawcett School stands for the best, Its ideals tower high, Some day we'll make the whole world know We dared to do or die.” “Be courteous everywhere you go, To others, young and old, For that’s the kind of folks who stand The test of purest gold.” “Now do not loiter in the halls But quickly get to work, And always come on time each day; Above all, do not shirk.” “Please get material always, Before the school time’s rife; And plan ahead, for you will need To do this all through life.” “Keep up with all your work each day, So when the term is ended, There’ll be no rush, no discontent And you'll be recommended.” We always like to hear her talk, In May, as in September, Because she never fails To give us something to remember. Half the Third Year Class, at a time, wended its way to the Kresge Department Store a half block from the school to sketch the dresses and coats in true trade-like fashion. Here are some of the results! } The Evening Ceramics Class Extends Their Best Wishes Instructor AD. SHIRLEY EVENING MODELING CLASSES James V. Prior, Instructor rd Ness F. Woytonitz Lillian Kennedy Helen Green ral pyahiet Joseph’ Naselli David Dalrymple Mitchell Cirone John Gramegua Wilfred M. Benson Mrs. Amelia Hall Patrick Colhesy Camillo Ferri Harry B. Nowaski Helen Altman Sol Katz ] Joseph Ferri Edwin Geils Richard Pedersen Elizabeth Gressinger Paul Lenzi Helen Pranis Robert Gollicchio Walter Peterson Clarence E. Di Carlo Joseph Campolattoro Sylvia Silverman A. Elliot Morris Chassanoft A. C. Patterson Marion Gurney C. Klausman Albert Lutz Marie Hankin Sam De Giovanni THIRD AND FOURTH COMMERCIAL ART CLASSES Instructor, CHARLES J. LAUTER W. S. Appleyard John Soltys George Williams Victor Sliwiske Lewis Mather Sam Oxton Henry Hummer Harold Magold Robert Kennedy August Schnitzler Gaetano Donatiello Olga Savage gid and 4th Clarence Wittell Ruth Cottingham Ades’ classes Edward Strobino Jean Klein Commercial Art George Reinhart Clara Port COMPLIMENTS OF THE FIRST YEAR ARCHITECTURAL F CLASS W. WALLACE BEISHEIM, Instructor ARCHITECTURE COMPLIMENTS OF CLASS IC James Campanile Eugene Cywar Ernest Duffy Andrew Fedorsack Michael Figurelli Walter Klem Joseph Girgenti Gustave Huhn Stanley Jurewicz Edward Liebig Frederick R. Mancinelli Edward Miller Michael Perrelli Peter Provenzano August Shalfa Arthur Taylor Andrew Tierney Howard B. Williams James Lemb o Paul S. Wells Jay W. ConneLLy, Instructor ° COMPLIMENTS OF THE EVENING ARTS AND CRAFTS CLASSES A AND B MORITZ LOEFFLER JOSEPH STREETER Instructors FIRST YEAR MECHANICAL CLASS ROBERT B. SHIRLEY, Instructor CLASS C George Aeshbach W. Frederickson Fred Miller Frank Bauer John Haller W. Neigel Charles V. Brady J. Kaufmann Denman Rinck John J. Burns Ernest Krauss Robert B. Rinck Eugene Cole George Leiper Wal Skibinski M. Cusack L. Mansfield Peter Swolack Edward Dempsey Frank McCoy Michael Tyjewski George Dietrich James Messo Herman Zorn THIRD YEAR MECHANICAL CLASS THIRD YEAR Ralph Dempsey John Kolody Alfred Hassell Charles DuPre John Kostecka John Hack John Watson A ou Arnold Hentsch Alfred Ricker Alex. MacGregor Alfred Insinger Joseph Yukor William Schweyher SECOND YEAR ARCHITECTURAL CLASS GEORGE F. TOWNLEY, Instructor CHASSs Matthew Brady George Kraibuehler Paul Brusko ; Edward Kreminsky Leonard Cacioppe . Robert Lambert Fred Caralleni Alex De Rosa Harry Erman Robert Evans Joseph Marzial A. J. Metz Benj. Nachmovitz William Hamilton R. Rudyanski N. C. Guerin Joseph Wassmer M. Holic Samuel Tucker Samuel Ciccone C. Sherlock SECOND YEAR COSTUME DESIGN AND ILLUSTRATION CLASS Margaret McClaim Florence Otto Elizabeth Peterkin Marie Peterkin Josephine Quinn Lilly Rosen Kathleen Rivers Joan Rone - Anna Rosenberg Kay Ryan Mabel Stahlberg M. Grace JoHNsTon, Instructor Myrtle Sykes Edna Schanzenbach Edith Swenson Emma Spielman Thelma Thompson Elsie Von Spreckelson Geraldine Vittielio Gladys Vanderbilt Florence Wentzel Lavinia Young Elsie Ziegenbalg Selma Zieckerbrod Olga Arace Mrs. Sadie Bain Wilhelmina Borrows Hazel Clark Veronica Doser Joseph Dunak Grace Felton Ida Frances Martha Garrod Julia Gissen Embla Hanson Helena Ianuzzi Regina Jowitz Ruth Kays Mrs. Julia Kohl Ella Kocovska Lena Moon Frank McGough Frances Moon Mrs. Alva Miller Rose Meisol Compliments of MECHANICAL DRAWING CLASSES A-B INSTRUCTOR JOSEPH HARRIS Bidwell, Howard Breiner, Clarence Cottone, Michael Castellano, Anthony DeLuca, Emil Degler, Frank Franco, Anthony Ferrer, Patrick Gelertner, Lee Gormley, George Kuldanek, Steven Ley, Emil James, J. A. Hammond, Harry Horter, Adam Leibnow, Howard Neuse, James Peitz, Charles Reitz, H. R. Rankowitz, Fred Richards, Chris. Skarbeck, Walter Sclair, Julius Weber, L. Wilt, Fred Waters, Lawrence Mackey, John Pope, William Riordan, John Schaeffer, William Townley, Edward Zetwick, Joseph DeLuca, Anthony Dotterweich, Max Fahey, Thomas Franklin, Abe Gonzales, Gasper Hamlett, J. A. FIRST ARCHITECTURAL CLASS G JOHN F. BRANDT, Instructor Walter S. Batson Charles Clay William Prastaff Edward Bowers Elizabeth Armando Joseph Pyne Edward Bowser Fred Heyech Fred Samer Bjorn Bjornson William Hill Ed. Rothhardth Frederick Buz Alfred LePage Jess M. Wheiler Joseph Cavallo Louis Loffredo George Wiebolt Peter Cicoro Charles Zuzolo Compliments of SECOND YEAR MECHANICAL CLASS A CLASS OF 731 HARRY G. KETTENRING, Instructor THIRD YEAR ARCHITECTURAL CLASSES Instructors EDWARD URBAND, WILLIAM C. WAGNER Bernard Damiani Paul Otto Eugene Cavanagh Karl Vogelsberg Frederick Fritz Walter Trautwein Andrew Anderson Franklyn D. Butler John Koptula, Jr. E. A. Hartner Henry Ciulla L. M. Higgins Victor DeSalvo John C. Piola M. E. Palmeri Arthur Kratt R. A. Bartz Mary W. Weaver Emil Balint - William Russo Joe Barborka Louis Befano Herbert Sarles Andrew Colannino Donald Cooper FIRST YEAR EVENING DESIGN AND ILLUSTRATION COSTUME Fay Abromowitz Elsie Barna Bertha Beckmeyer Ruth Bellows Ida Bisp Basil W. Boesch Edith Cherry Grace Caffrey Jean Carbat Beulah Cippel Katherine Damiani Dorothy Dacey Anna DeCarlo Gertrude Durr Marie D’Auria Agnes Dancak Meline Essayan Ethel Felber Minna Glicksman ilizabeth Greer Helene Hummel Aurda Hensel Elizabeth L. Greene Sadie Ilvento Dorothy Koch Magdelena Koch Virginia Kapsimallis Betty Kapsimallis Irma Kapalla Rose Marie Kalepjian Sarah Levy. Antonio Marquis Sarah Meisler Eleanor Mankiewicz Elizabeth Munther Catherine Moore Helen Neski PS Do Perry Manuel Portugal Jane Raymond Helen Randolph Dolly J. Rizzolo Clara Richman Elsie Ruffio Anita Spenceley Instructors Rita Leach Mabel Silbon Rose Schwartz Rose San Giovanni R. Lee Schuler Elsie Schatzman Lena Sanservo Florence Schmidt ivelyn Tankoos Gladys Tierney Bertha Takjian Walter E. Tobaygo Elfrieda VanHille Katherine Vollmann Louise A. Williams Edna Williamson Edward Whitford Nellie Yonadi Jeanette Zangrilli Jennie Zerbino Charlotte Ziegel Mildred L. Pike EVENING LIFE CLASS Apner, Sam Dragonetty, Harry Eck, Carl Everitt, Walter Fiorito, Marie Freeman, Frederick W., Jr. Piker, Mildred JOHN R. GRABACH, Instructor Hausdorff, Paul Johnson, Elice Kessel, Lauretta Maurath, Vincent Pfisterer, Ludwig Hanlon, Thomas Russi, Anthony Russ, Erwin Sampier, Carmen Snyder, Harry Winter, Laura Wyman, Jean Wyman, Rosemary Williams, G. A. BEST WISHES to the GRADUATING CLASS from the EVENING INTERIOR DECORATION CLASSES Instructors ROBERT CASTLE JULIA BLACK ELLSWORTH O. TERRELL (ompliments of THE FIRST YEAR EVENING CLASSES IN COMMERCIAL ART Instructors Owen E. Smith John F. Gould Andrew Geiger Edward P. Kirsch Maxwell Simpson FIRST YEAR GENERAL ART CLASS D SECOND YEAR GENERAL ART CLASS B Sabid Ienni Walter Scott Stanley Pisarezyk Gene Bond Walter Lindsley Martha Smith Louise Kraemer Edwin Geils Stephen Bennett BYRON G. DREIFOOS, Instructor Helen Fryez Myrtle Young Edith Porter Helen Handlowitch Gertrude Wachtel Sam Bilows Howard Chadwick Gustave Faas George Thompson Edythe Silverman Helen Panas Sarah Kutynink Amelia Campanili Minna Kahn Gordon McCarthy Emil Oelkers Albert Morgan FOURTH YEAR ARCHITECTURAL CLASS Instructor, ERNEST H. FOUGNER DON R. LUIS, Assistant Frank J. Apgar Alfred M. Barbier Arthur Bissell Andrew H. Cannella Francis Cicenia Herman C. Cohen William E. Costa Rosario DeMarco Joseph C. Pinto Louis Pisciotta Henry Schulte Eldred R. Streeter Ribello H. Solla John J. Wassmer Thomas L. Zappo Thomas Dispenziere Kasimir Drygas Felice P. Forgione Irwin G. Hanle August Hartman Carmine J. Iadarola Robert J. Jorgensen J. Henry Peck CONGRATULATIONS—1928 GRADUATING CLASS from SECOND YEAR MECHANICAL B A. H. Dowe, Instructor E. J. Dwyer L. D. Giovanni E. K. Lee W. F. Clark W. J. Doby R, L. Arnold H. M. Fasting J. Dixon E. Gianfrancisco G. Grossnickle W. J. Miller W. Leonard R. O. Norvell F. N. Keogh H. Hasell ARCHITECTURAL GRADUATING CLASS Dr. Frank J. Davey Peter A. Haanes f Instructors Martin Martinelli Joseph A. Amlicke, Jr. George T. Hechtel Andrew Palmieri John J. Sturdevant John Homlish John Lundberg Ben Ravenitz Rubin Braverman Joseph Cassini Lester C. Greengrove John A. Pashkow Andrew McGall Peter Tobia Fred Sierchio Leo Kabis ADVICE TO UNDERGRADUATES To the classes of undergraduates, we offer our sincere good wishes. Work, work, work until it hurts and some day you will be rewarded. Don’t let an evening’s pleasure stand in the way of your success. Don’t fritter away time, for time is the stuff that constitutes life. Make your resolution now and keep it; take advantage of all opportunities offered you so that some day you will also graduate. With grateful appreciation, the class of 1928 bids the school faculty, Principal, and undergraduates a fond farewell. MarTINELLI THIRD YEAR® DAY) GMASs DON’T WORRY IF YOUR JOB IS SMALL AON DEY OU Ra RAR EW ACR D'S) AGREE bebe REMEMBER THAT THE MIGHTY OAK WAS ONICIE A DNIUSFA DIRT BR Yr ORU ees eae Baldwin, E. Bossert, Elmer Chufi, Anthony Downs, Agnes Donahue, Helene Dufault, Claire Ecker, Alice Francis, Pauline Hankinson, Edna Humphrey, Louise Krupicka, Irene Lowe, Laura Lowry, Kay Maff, Betty Neil, George Pikutis, Margaret Plank, Lillian Pierce, William Rawitz, Blanche Reed, Constance Rodecki, Irene Slattery, Helene (rip ine Salisbury, Ruth Savod, Mollie Sittard, Lilly Toms, Ruth Ornstein, Joel Quackenbush, E. Uchtman, G. Van Riper, D. Weber, Charlotte Warner, Emily Winter, Laura lyin TR eee es) CASTLE’S ICE CREAM PURER BECAUSE HEATHIZED A PLACE OF SPECIALTIES s SANDWICHES, CAKE, ORDERS TAKEN FOR WAFFLES, ICE CREAM, ae PARTIES AND PICNICS PIES, COFFEE, TEA | TEL. MITCHELL 5061 OPEN FROM TEN UNTIL SEVEN ERE WOOD JOHNSON Piearee MY STREET, NEWARK, N. J; Mary Anderson Saida Chapin Marie Clarizo Doris Grudman Geraldine Hanley Helen Johnson Constance Sauer F. Van Der Voort J. Van Der Voort Marion Salter Lula Paasmore Julia Just Stanley E. Church Marie Jackson Philip Taylor Norbert Damm Sherman Dubois John Sohan Howard M. Shay Stephan Witwick Vincent Lambosta Alvin J. Ellis Julius Paulowski Edward Woujick James Kozen J. A. Gaydos Leon Tibles MILLINERY CLASSES EMILY R. MacEWAN, Instructor Barbara Sklenarik Mary Boyd Ida Culbert Bertha Gilman Irma Williams Eva M. Bennett Marian Caplain Ann Conklin Elizabeth Crowther E. J. DeViney Claire Heaton Louise Kennedy JEWELRY CLASSES WILLIAM F. HINGEL, Instructor Ben Friedman Harold Stauber Maurice Himber Arthur Zeidler Anthony F. Manning Milton Huckmen Louis Cassinelli Mathew Milewski Oscar Gonnelli Paul V. Titcomb James Cerone Dominick Sparno Joseph Melillo Otto Sommer, Jr. Frank Denbieg Janet McEnroe Margaret McLaren M. McKinnell Emily Nalio Etta Raymond Elizabeth Sidserf Alpha Smith Jessie Telfer Ethel Freeman Margaret Carberry Julia Remondelli Katherine Washkan Adam Kazalski Henry Manger Stephan Wargo Herbert Mair David Botwinick Philip Mistretta Edwin Swezey John Mordwa August Tobler Ernest Heinz, Jr. Emma Beckmeyer Emma Swenson Edith Gustafson FIRST AND SECOND YEAR GENERAL ART CLASSES GROUPS E AND D VINCENT IANNELLI, Instructor Lillian Levit Matteo Melito Mary Miles Fred Miller Viola Panzer Theodore Pratkowski John Potter Parker Rex Aida Rizzolo Lena Rizzolo Anton Sandor Frank Scarnato Modestino Sierchio Harry Stern Beatrice Suchow Belle Telfer Evelyn Turley Julia Villani Salvatore Viviani John Wilkich Max Zablotsky Benjamin Adler Max Adelman William Amorelli Elsie Bacmeister Elizabeth Brown William Brown James Crilly Holdsworth Diana Julius Duchinsky Dorothy Ebert Frank Fazio Marion Frank Florence Figlinolo Benjamin Geller Sylvia Glucklich Emily Hanson Elbert Hendry Irvin Hollander Fannie Kaplan Charles Kiseljack Amelia Kolisek L. C. French Compliments of the 2ND YEAR Commercial Art Class Michael A. Geiger, Instructor Chas. F. Keating Max M. Millan Philip McGuire David Schonberg George Schwacha James J. Thompson H. Colton Wallenstein Henry Yates Christian Jensen Roy Ayers Peter Denardo Hilary Drzymala James Hubert James W. Kendrick Roberta Donaldson Edythe M. Grabau Mary Lichtenwalner Stanley Winget COMPLIMENTS OF FIRST YEAR ARCHITECTURAL CLASS E GEORGE F. TOWNLEY, Instructor FIRST YEAR CLASSES A-B BLESSINGTON, THOMAS SCOLA, GRACE ALBRECHT, NORMAN BUMER, SHERIDAN SHULMAN, ROSE BRANDMAN, DOROTHY CALHOUN, ALICE STEARNS, ROBERT CAPPETTO, JOHN DETROIA, VICTOR THOMSON, JAMES DAVID, THOMAS FALLON, JOHN WEISS, BLANCHE DAVIES, GRACE GEARY, VICTORIA ZAPPO, JOSEPH ECKERT, MILTON GUARINO, HELEN PHILLIPS, MARGARET ESKIN, LILLIAN HICKS, DOROTHY SCHOENHOLZ, EDNA ESPICH, EDWINA KEIMER, ELIZABETH SILVERMAN, LEONORA FAISON, ANNA LEONARD, THOMAS FREEDMAN, BETTY van LR). = FIRST YEAR CLASSES C-D ALTIERI, ALFRED MACKEY, JOHN ARDSLEY, MARION AROMANDO, JOS. O’NEIL, MARIE BROOKE, MILDRED BACKHUS, CATHERINE SCHUMANN, HEDWIG BIERD, ELIZABETH BASMAGY, JOHN SCHLECKSER, D. CAUVET, ELEANOR BRANHELFT, EVA STASSE, WILMA CROWTHER, RICHARD BUCHANAN, CATHERINE STEINMAN, AUGUST ELLIOT, EDITH CHISHALIN, CAROLINE WERLING, PEARL GUDE, MIRIAM KUNA, ROSE WIRTH, JOHN GUNTHER, DEL WOODS, MARIAN HARE, FRANCES VON GRUNIGAN, R. KAYES, IRVING MIGLE, GUS NORTON, EDITH PFIEFER, HOWARD ROSE, BERNICE RENNER, HILDA RUSSO, KATHERINE ZABLOSKI, C. ZARROW, M. HESSINGER, GRACE JACOBUS, ISABELLE LAMB, GERTRUDE McCARTHY, MARIAN NAPIER, MARGARET O’BRIEN, HELEN PAGE, FLORENCE STALEY, ELEANOR de ST. MAURICE, V. FIRST YEAR CLASSES E-F BEST, RUSSEL WILLKEHR, ROSE DEVENEY, HAROLD WEBB, RUTH FEE, JOSEPH KLEIN, ESTELLE BUTTON, K. JAMES WATT, GLADYS PETELER, ELBERT BAER, RICHARD EYLES, DOROTHY JASLOWSKI, LESIS HOFFMAN, NORMA KRiLEY, WARREN HOLDEN, MARJORY SCHARNUS, JOHN HOLLAND, VERA OBERT, HAROLD IVES, ELLINAR AIKMAN, RUTH KEEPER, MARGARET BINN, DOROTHY DE FREITAS, HELEN HAIVES, ELIOA STACY, JACQUELYN SWENSON, GEORGE TALLMADGE, CON. THOMPSON, THELMA TELLINGHAST, ARCHIE WACHOWITZ, JOS. WEBSTER, HAROLD WEIDIA, SADIE PATERSON, HELEN . A Wall Without Pictures is Only a Wall We Have Framed Everything but I O O i S the Constitution In Business 43 Years BATIK WORK CARY AND KENNY WOOD CARVING Manufacturers and Dealers in TOOLED LEATHER LOOKING GLASS AND PICTURE FRAMES LINOLEUM BLOCK Gilding, Regildi d Repairi ee rcaavganiasel woe Pups 95 HALSEY STREET Newark, N. J. MORITZ LOEFFLER Phone Market 4191 99 Liperty ST. BLooMFIELD, N, J. Phone Market 4313 Work Done While — U — Wait Soc Rk OTHROCK BAKEN CUSTOM TAILOR Shoe Repair Service High Grade Shoe Repairing Phone Mitchell 9687 OPPOSITE NEW PRUDENTIAL ENTRANCE Dress Suits to hire for all occasions 53 Academy Street Newark, N. J. 51 Acapemy ST. Newark, N. J. IRVING SPINDELL For Real—Real Estate PRESCRIPTION PHARMACIST 392 ORANGE STREET Cor. First Newark, N, J. FOR LIFE INSURANCE SEE GILLEN CO. GEORGE ROTH, Agent METROPOLITAN LIFE INSURANCE CoO., 31 CLINTON STREET, Real Estate NEWARK, N. J., Market 5750 WASHINGTON FLORIST Floral Designers and Decorators Strictly Highest Grade Cut Flowers 24 Commerce St. 569 BROAD STREET NEWARK, N. J. Newark, N. J. Phone Mitchell 0621 MICHAEL A. GEIGER Advertising Art TELEPHONE MULBERRY 1624 31 East 27th St. New York City Phone Madison Square 3391 School and College Diplomas a Specialty H. FINN Studio Peckhman, Little Co. School and College Supplies 127 WASHINGTON STREET Newark, N. J. Telephone: Mulberry 2438 China - Glass - Watercolor Painting Firing Daily Roman Gold - Hand Painted China Printing of Every Description Color - Brushes - Etc. For Sale 136-140 West 21st Street NEW YORK CITY China Mending of Every Description Orders taken for Hand Painted China Telephone Watkins 3396 Ree MB eR TAL NDT Ss Cr Orel OuRes MADE IN HOLLAND Pure—Brilliant—Permanent U. S. Distributors TALENS SON, INC. IRVINGTON, NEW JERSEY ART AND COMMERCIAL TEL. MARKET 0310 DESIGNS IN SILK ART BATIK WORK IN ALL ITS BRANCHES . SILKRAFT STUDIOS SCARFS 41 HILL STREET pe TRIANGLES KIMONAS SQUARES NEWARK, N. J. INTERIOR CHIFFONS DECORATIONS Second Year Day Class Angliss, Dorothy Bishop, Julia Bopp, Virginia Butcher, Alyce Fiorito, Marie Maureth, Vincent Alrige, Cora Bajean, Andrew Bate, Izabelle Bucchne r, Eugenia Centanni, John Clark, Katherine Farley, Lawrence Angleman, Horace Ackerman, Gertrude Bander, Florence Burkes, Eugene Cousins, Rose Fitzgerald, Alivia A Whitehouse, Ruth B Thomas, Harold C G, Miller, Elenor Ryan, Fred Scofield, Fanny Stollenwort, D. Sanborn, Fred Wryman, Rosemary Farrell, Edythe Grapel, Marguerite Henry, Austin Howes, Lavinia Jefferies, Charles Lease, Evelyn Trestman, Gertrude Jordan, Hazel Jordan, Olivia Jackson, Lorraine Lerrow, George Schaffer, Katherine Shenk, Mary THE NEWARK SWEET SHOPPE AND LUNCH Wishes to the Students of Fawcett Success 201 WASHINGTON ST., CoR. ACADEMY ST., NEWARK, N. J. PHONE MITCHELL 2176 L. BEYER THEVACADEM:Y LUNCH ROOM Hot Lunch—All Day 51 ACADEMY ST., NEWARK, N. J. ESSEX RESTAURANT AND BAKERY 919 Broad Street OPPOSITE CITY HALL NEWARK, N. J. Gust GEVAS, PRopP. Open all night—Service with a smile DAILY LUNGHEON (ooo ee ee DINNER SUNDAY CHICKEN DINNER $1.15 WILLIAM B. ADAM Choice Meats, Fruits and Vegetables Telephone ett Humboldt 310 BELLEVILLE AVENUE NEWARK, N. J. “THE CONFECTIONER’S LUNCH” dA Soup - A Sandwich - A Dessert These are served in great vartety in the restful atmosphere of 845 BROAD STREET —Opposite Central Railroad AFTER THE SHOW a good cold soda or an ice cream delicacy is always acceptable CANDY — BAKE GOODS — LUNCH HARRY C. BRADSHAW COLLEGE JEWELER MEDALS—-CUPS—TROPHIES RIBBONS—-BAN NERS—-PENNANTS Engraving and Stationery CLASS RINGS AND PINS FRATERNITY AND SORORITY JEWELRY Phone Market 2919 i 54 Clinton Street Newark, N. J. Compliments AN D BES IT WelLS HES OF MISS LOUISE D. SHUGARD President of Associated Humane Society of New Jersey 124 Evergreen Avenue Newark, N. J. i THIRD YEAR GENERAL ART HOWARD V. BROWN, Instructor Henry Mann Joseph Wisely Arthur R. Blair Natalie Lifshus Edythe Le Motta Ann E. Sheppard Herbert Schill Philip A. McGuire Michael Karnaugh Karl Blaschke Albert Gorsky Robert Stein N. A. Braun Sidney Freedman Theodore Sanders Michael Daddario Carl Wellhofer Fred A. Hamberger James J. Brady FOURTH YEAR GENERAL ART HOWARD V. BROWN, Instructor Thomas R. Jones Nick Cioffi Dorothy Breman Charlotte L. Scholz Cyril A. Horn Rae Zuckerman Geneva Moran Steve Hanratty Anna Hartos Sidney Knoller Maud A. Horner John G. Kruefer Nicholas Cacio George R. Heidrich D. Zuschlag Gene Woods Peter Bilyk Thomas Masterson C. S. Anderson Gerard Hesselgren Edward Lomberk Edmund Strobino Alex. Maker Wish through this advertisement to show their appreciation of the helpful spirit which has been ever present through their years in school. Elinor Chisholm Irene Clark Gertrude Cotter Dorothy Felsberg Marion Huska Lucinda Jutkiewicz Florence Kates Lydia Lambrecht Bernard Leddy Hubert Long Helen Marsh Irma Miele Modestino Serchio Stanley Reber Charlotte Stephens Miriam Cantor Bertha Rothberg Robert Bischoff Lester Byock Beatrice Mandelman Drawing and Design Drawing and Design, No matter how much you think you know, if you haven’t a knowledge of Drawing and Design, YOU’RE NOT AN ARTIST! Drawing and Design Drawing and Design, Color is important—Yes! You may try to cover up a bad drawing with brilliant color, but if you don’t know Drawing and Design YOUR PICTURE WILL NEVER REACH AN ART GALLERY! Drawing and Design EVENING APPLIED DESIGN CLASSES JEAN T. MITCHELL, Instructor DRAWING AND DESIGN Paul Benson George Jeffreys Dante Arace Lydia Arace Ellen Cloves Anna Czernicke Hazel Evertz Helen Feder Edith Gessler Estelle Marsh Esther Martin Marjorie Miller Theckla Swenson Marion Rowe Florence Wilkinson Roberta Zuber Irene Gross Donna Tehay Boldiena Korinek Marion Rowe Drawing and Design, Money certainly is important, and if you don’t know your Drawing and Design, YOU’LL NEVER GET A POSI- TION, SO Buckle down, young man, work with a smile, struggle with your problem, overcome every surmounting obstacle, learn your song of Drawing and Design Drawing and Design until it rings true to you, and you'll surely find a place for yourself. NORBERT BERTL JEWELER AND DIAMOND EXPERT Serving four generations of sat- isfied customers and ready for you. 46 SPRINGFIELD AVE. Newark, N. J. THE BEST PERMANENT WAVE THAT MONEY CAN BUY Each wave is treated differently. Whether the hair is fine or coarse, dyed or bleached, or silky white, it will respond to the latest process, and the result will be a perfect wave. No kinks—no frizz. ENTIRE 8 50 SIX MONTHS’ HEAD 5 GUARANTEE Permanent wave will be given free each month. Second Prize equivalent to $3. Come in and get your lucky number now LADY FAIR BEAUTY PARLOR 43 Academy St., Newark Phone Mitchell 9471 Wire PIT N Photographer NOT EXPENSIVE —But Mighty Good While our prices are most reasonable, our work has that indefinable quality which the people term “style” and which is so hard to obtain except at much expense. 917 BROAD STREET Opp. City HALL Phone MARKET 3168 JouN J. FARREL CHARLES W. HOopGE SHARPE BROTHERS CO. Stained Glass FOR CHURCHES AND RESIDENCES MEMORIAL WINDOWS—EMBLEMS SIGNS IN GLASS Telephone Market 6492 41 Hill Street, Newark, N. J. Phone Bigelow 3729-W Studio: 55 Custer Ave. Newark, N. J. EUGENE S POWERS Son INC ; ; : JAMES V. PRIOR MODEL OR NOs EOGNER Consulting Architectural Engineers (Instructor at Fawcett School of Industrial Arts) MEMORIAL TABLETS PORTRAIT BUSTS DOREBATEeameRbE ions . NEWARK AND PHILADELPHIA SCALE MODELS FOR BUILDINGS DIXON DEPENDABLE TOOLS for ARTS AND CRAFTS AND METAL WORKERS N old quotation preserved in the writings of Thomas Carlyle reads like this: —“The tools to him that can handle them.’ For many years the House of Dixon has not only been furnishing metal working tools “to him that can handle them” but also to him that is LEARNING to handle them. And Dixon Tools are always GOOD Tools); MODERN Tools—Tools you can depend upon. WILLIAM DIXON, INC. 32 EAST KINNEY STREET NEWARK, N. J. cnn ennneemmnneemnemnneenenee eee ee SECOND YEAR ARCHITECTURAL CLASSES A and B J. H. Bailey J. Rogers J. Hancock M. I. Backal H. Sarles J. Keenan A. W. Carlson A. Schaufler A. McCorkendale A. T. Cairo S. C. Ulak A. Monahan A. T. Colandrea M. Vetri E. Nolte M. M. Cavallini P. S. Wells F Ohison M. J. Doonan K. Andahazy Tepes J. Federico E. Deyo R. Rogers J. Farb G. Fee tO: Felser Ni Ride D. Southerland L, Koller G. Gentile eh A. F. Moro D. Guarino E. Wynn J. Griese W. Ziething V. Rossi, Jr. May it be with a guiding hand that each and every one of you will attain the highest and loftiest aspiration in life — Success. Instructor, ROBERT C. ZISSLER Compliments of LOUIS V. ARONSON ARTIST Patron of the Arts Tel. Mitchell 5444 CLAWANS KETTENRING 1060 BroaD ST., NEWARK CONSULTING ENGINEERS AND LAND SURVEYORS H. G. KETTERING, M. E. NEWARK, N. J. M. C. RICHARDS School of Modern Ballroom Dancing Classes Private Lessons Social Dances Day and Evening Send for Booklet Tel. Market 1800 571 Broad Street at Central Ave. NEWARK, N. J. FRANK GRAD ARCHITECT A.LA. 1023 BROAD STREET NEWARK, N. J. Telephone Mitchell 4815 Phone Kearny 2836 FRED SIERCHIO GENERAL CONTRACTOR Office—PROFESSIONAL BUILDING Room 7—cor. Kearny Ave. and Grove St. ARLINGTON, N. J. One of the 1928 Architectural Graduates LIT RIANGLE C . OAASAL ENTS OENT DEDUCE NTA THT 0) Specializing tn ARTISTS’ MATERIALS PHOTOSTATS BLUE PRINTING Wish to announce they are doing business at the same address 203-205 Market Street Cor. Beaver COMPLETE LINE OF PELICAN GUNTHER WAGNER SUPPLIES KEUFFEL ESSER DRAWING MATERIALS CANVAS STRETCHERS BRUSHES Phones - Market 5120 - 5121 Connecting all Departments FIRST YEAR ARCHITECTURE CLASS A ALFONSO DEL GUERCIO, C.E., Instructor Bowles, James L. Saville, Charles Calabrese, Frank Schmidt, Bernard De Vine, Miss Mary Lawrence, Tom H. Frisch, Charles Bosco, Patsy Kelso, Robert D. Vaggie, Charles T. Lutz, William T. Zimmerman, Wm. Guttman, Miss Lillian Zuppardo, Ignace McDonald, Joseph Manns, Frederick Rusling, Herbert Krozser, Frank G. YEAR ARCHITECTURAL CLASS B INSTRUCTOR, J. W. CONNELLY, B.A., A.E. Frank Amodio Craig Alpaugh Walter J. Dehikat Jack Bellina Charles Dutka Francis Doran Oscar H. Davidson Richard Banfield John Griese Jack Goodrich Benjamin Guminski Ul iam: Giinin Joseph Pellegrino Clifford Hoffman Rolano Romano RalphiOatey Ernest Schneider John McCarthy Oscar Davidson Clifton Thorworth Frank Mojjie Herbert Schoenleber James Turney Wallace Vick George Rudden COMPLIMENTS OF 3rd AND 4th YEAR EVENING CLASS COSTUME DESIGN and ILLUSTRATION PEARL P. BROWN Tavs JEROME! P. DEWITT Teta Margaret Bergman Lietta Troiani Mae Conrad Florence Vetter Esther Dahlgren Anna Zenkl Angela Donofrio Lucy Bellante Margaret Geschke Emma Deis Joseph Gonelli Elizabeth Donovan Mildred Hadfield Helen Farb Margaret Jordan Catherine Farrel Jennie Keim Helen Freitag Irma Losi Emma Krueger Kay Maurer Hazel Lee Marie Peltz Catherine McGough Mabel Reisig Dora Spieler Clara Rizzolo Elizabeth Sackmeister Rose Salerno Celia Statmore Hazel Shea Grace Smith Regina Shillcock Evelynne Trowbridge Helen Smith Lillian Hartlove FIRST GENERAL ART G AND PAINTING CLASSES CARL SCHLEUSING, Instructor All hail to the Graduates of Nineteen Twenty-eight! Norman Brydon Hermann Malzahn Joseph Marko Louis Mazarella Nicholas Phillipa Albert Schipper Anthony Skell Harold Thompson Jean Schweizer John Weber Robert Weischedel J. Clitsas Joseph Bongard Hansard Offenger Willy Bagemihl Wood engraving Americo Garubo Mathilda Leary Phyllis Serbin Helen Stumpf Dorothy Geller Sam Adlerstein Michael McAleavy Emil Roth Raleigh Bullard O. R. Clinard Richard Fuerst Stanley Elsmer Augustus McGinnis Walter Hall Charles Rothe Emil Schuh Jacob Spiro George Schwacha Phillip Frankfort Edward Unglaub Andrew Hulitar Arno Bast A. E. Leadbeater Henriette Basters Irene Coughlan Hattie Crosby Dorothy Geller Helen Murawsky Dorothea Riedler JOSEPH BENGART why eA Ve Ma ai ada et! Ub width « : as Ve Sei cae ee oes Ar B.-SUTEA Artists’ Material Oils—W ater Colors Brushes, Pastels, etc A COMPLETE LINE OF SHOW CARD COLORS 47 ACADEMY STREET NEWARK, N. J. Few doors frem Fawcett School POOR MR. SUTTA “A pencil, please—Mr. Sutta. ” “An eraser—if you don’t mind.” “A blotter, please—Mr. Sutta.” “And a pen can you please find?” “A jar of paint—Mr. Sutta.” “Pll be there—you’ll have to wait.” “A few pastels—Mr. Sutta!” “They aren’t open. There’s the crate.” “A telephone call—Mr. Sutta?” “It’s raised to seven cents.” “This tube of paint—Mr. Sutta.” “Its sides are full of dents.” Two hundred calls for Sutta, For pencils, pens, and paint, But no sound reached poor Sutta, He’d fallen in a faint. FIRST YEAR GENERAL C AND SECOND YEAR GENERAL A ART CLASSES Planck Miriam Porter E. Mading Elsie Oliver Helen Smith Betty Witcoft S. Wrotkosk W. Amato Violet Daft R. Bischoff H. Meyers BERNARD GUSSOW, Instructor O. Torres J. Podlas T. Davenport Ruth Anderson Norman Toop Marian Overton Helen Dobson F. Bulger S. Cocchia F. Schlegel F. Hansen Estelle “Tenore Dorothy Klewin Caroline Beck Elizabeth Wilford N. Ditto Florence Moeltner J. Barrella T. Foy Louise Hanna Jean Berliss S. Klein O. Howard Helen Dorney Margaret Dorney A. Palmisano E. Prescott J. Lewis M. Herman H. Zarin W. McReady A. Tarolla J. Auletta FIRST YEAR GENERAL ART A AND B Gertrude C. Lennon John E. Kelly Carlton M. Di Carlo Henry Huber Joe Marcantuono Frank Palasciano Sigmund Dickowski Anthony Carangelo James Clancy Albert W. Embley Margie Zoellner Helen Brothers ALWIN J. KLEINFELDT, Instructor Roy Serwatka Marie B. O’Sonnor Ethel Charnock Marion B. Stydecker Frank C. Clark Michael Kourcha Herbert J. Purcell Kurt Lidle Helen A. Reynolds Morris Milstein Irene C. Luttringer Raymond Isherwood Malcolm Marshall George Williams Frank San Giovanni Joseph Valese Stanley J. Mech Bertha C. Bihler Genevieve Burns Julia White Thomas F. Palkow John Robertson Frederick A. Hoadley The ALDERNEY DAIRY COMPANY ZO BRED CESS Ree NEWARK, NEW JERSEY TELEPHONE MULBERRY 4900 Orage Telephone Mulberry 1607 Quality E. G. RUEHLE CO. 3.053 2E' CUIAN® 1 QuNges ola Rabe teas Blue Prints NEWARK, N. J. Photostats TTS MECHANICAL DRAWING OUTFITS AS ADAPTED FOR THE NEWARK DRAWING SCHOOLS GRA ¥Y OLA AT SCHOOL AT HOME 6) NE usually associates Crayola crayons with school work, for they are used so extensively in the class room, but they are also a very necessary household article. Stenciling, decorating, making identification marks, and retouching furniture are but a few of their many uses. When you buy Crayola crayons for school, buy another Cc box to take home. Assortments of 6, 8, 12, 16, 18, and OLLAN, COMPACT” CONVENIENT 24 colors. FOR EDUCATIONAL COLOR WORK -—— ——a y . BINNEY SMITH CO.) Youn: USA NEW =) BINNEY SMITH CO. 41 EAST 42ND STREET INDE VV YO RIKEN: Ye EUGENE LEFEVRE SPANJER BROS. | ARTISTIQUE FRAMER | PICTURES, MIRRORS, ETC. GILDING | PAINTINGS AND ART OBJECTS RESTORED Original Hand Carving. Oriental Effects Taste and Quality 971 BROAD STREET Newark, N. J. Telephone Mulberry 3156 REMOVED TO GOOD SIGNS LEAD TO SUCCESS 289 ORANGE ROAD 198 Badger Ave. MONTCLAIR, N. J. Newark, N. J. MONTCLAIR 8187 TELEPHONE WAVERLY 0646-7 ARTS CRAFTS DAY MORITZ LOEFFLER, Instructor Alliston, Wilma O. Buechler, Minnie S. Cassidy, Betty W. Coey, Jessie D. Cornell, May V. Craig, Ethelyn M. Cronise, Jane B. Cunning, Margaret - Downer, Ethel M._ . Duncanson, Isabelle F. Fishwick, Helen E. A. Gallop, Ida V. Gibson, Isabella Goldfinger, Helen Gordon, Sylvia S. Gronheit, Selma Guillow, Eulalie Hoot, Bertha S. Jeffries, Minnie L. Kendrick, Florence M. Koerner, Edith V. H. Konwiser, Martha Lange, Ottilie Lyons, Bernadette McCall, Kathleen McIntyre, Viola E. Miller, Doris C. Nicholas, Elizabeth B. Park, Agnes F. Peckham, Lillian Rich, Sadie A. Rypinski, Cecilia Taylor, Florence B. Thompson, Jane Tobin, Margaret P. Ward, Florentine G. FI RST YEAR GENERAL ART F-AND SECOND YEAR GENERAL ART C° CLASSES EMILE ALEXAY, Instructor Gladys Boeger Thomas Liew Cecil La Mothe E. Arthur Larson Mrs. Anna Habig William Schopfer Doris La Mothe George E. Loriot Mrs. Helen Horstman Anthony Skell Rose Dapsis Joseph Perrone Gladys Johnson Albert Sotak Anna Spielman Dominick Potenzone Lida Munn Julius Weiner Katherine Robertson Ralph Schiller Ruth Meisol Jay Zimmerman Dorothea Weeks William A. Simmons Dorothy Green Martha Bolles James Bannon Edwin Rissland Grace Simcox Tike Dee : Fred Daniel Robert Schuler C. B. Fowler Cee ais ae anes Frank Tobaygo ee Cebhardt Rose Goldman Michael Diacheyser Harry Winkler Joseph Gugliotta Elsie Ellerman John Fisher Joseph Vinitsky Irwin Hess Muriel Fichterbaum Joe Cherry | Frank Lavanco Stanley Knof Mrs. Edith Kenyon John Du Garth Frank Grochowsky FIFTH YEAR MECHANICAL CLASS DANIEL H. SEAMAN, Instructor H. J. Hopxins J. S. STANTON James L. BERKLEY DIE CUTTING AND ENGRAVING CHARLES WEYAND ce ee ea a TT) ST to girls ‘from missouri’’—— let us show you how to defeat the rough chairs and desks that ruin so many silk stockings. you won't have to “darn” quite so often—but better than that—you’ll save money just as thousands of others do who have acquired the habit of Wearing japtex hosiery for all occasions. THOUSANDS GA Neha WRONG! 72 Broad Street JAPTEX Elizabeth HOSIERY SHOPS 14 William Street 125 Halsey Street Newark ARGHTETECRURE COMPLIMENTS OF CLASS IB J. W. Connelly, B. A., A. E., Instructor Craig Alpaugh Jack Bellina Francis Doran Richard Banfield Jack Goodrich William Grimm Clifford Hoffman Ralph Ostroy Herbert Schoenleber James Turney Wallace Vick George Rudden Frank Mojjie Frank Amodio Walter J. Dehikat Charles Dutka Oscar H. Davidson John Griese Benjamin Guminski Joseph Pellegrino Rolano Romano Ernest Schneider John McCarthy Oscar Davidson Clifton Thorworth THE MOST COMPLETE ART DEPARTMENT in Newark Agents for Rouney Neisch La France London Dresden Paris Weber Schmincke Philadelphia Dusseldorf UNITED PAINT STORE CORPORATION 45 Central Ave. Phone: Market 1320 at Washington St. Q@| Query of Genus If a painting be so prized that it is worthy of insurance against possible loss, what of the artist who produced it? fs, Is he, the master craftsman, not to be appraised as highly as only one of the many products of his talent? The irreparable loss of such a genius is tragic enough to his dependents, without further burdening them with poverty if he is unexpectedly taken away. Che Prudential Insurance Company of America Epwarp D. DUFFIELD, President HOME OFFICE NEWARK, NEW JERSEY Autographs LY ne ”s wr