In "Boothanie Valley, Indian Reserve," Miss H.B. Bruce presents a small picture whose light and pleasing foreground is somewhat overshadowed by the grim strength of her mountains. "Summer Morning, Grantham's," by W.P. Weston offers a laughing view of the bay through lightly timbered uplands. It is a refreshing and invigorating piece of painting whose appeal is in notable contrast to that of "Laguna Grove" by Mrs. Schooley in which a tired and overworked looking road disappears into a comfortable mass of trees to rest. The color masses are in the soft tones and line of the elder Crome. "Laguna Hills" is a companion picture in similar effects, but with distant hills for aspiration rather than trees for rest.
     Mr. Stanley Tytler brings a breezy picture full of life and merging the color and poetry of industry with the quite majesty of nature in white mountains, - nearer the sheltering hills and inlet in the foreground. It is called "The Golden Ears from New Westminster." In "Waiting for the Tide" Mr. S.P. Judge shows us the pathos of sandy flats and an idle boat looking as stoical as the Indians it accommodates. There is the total absence of motion that comes to dead tidewater.
     A very striking picture is "The Asulkan Glacier" of K.S. Brydone-Jack. At first glance the glacier appears to derive its frigidity rather from the many colored ices of the confectioner than from any effort of nature. A prolonged examination might modify this impression. In any case the work is interesting as an experiment. "The Old Wharf, Victoria," by Will Menelaws, is a restful picture. It is a faithful delineation of a mood obviously reminiscent, an evening mood shared by the piles of the wharf and the sleepy boats tied up to it.
     "The Old Landing, Valdez Island," by Grace Judge, is a fine, bold piece of work true to nature and yet touched mysteriously with the magic of the conventional decorative artist. Therefore it is a triumph. "Snap," by Mary I. Stoddard, shows a very-much alive little dog in a basket, his one visible eye full of interested speculation about something too far off to get in the picture. It is a very able animal study. Mrs. Lois Gilpin has a portrait head of a pleasant old gentleman full of humor and gentle kindliness that is an interesting piece of work.
     Among the still lifes is a rather unusual one from the brush of Mrs. Garnham-Harvey compounded of ivy, cut tulips and a broken flower pot. The painting makes this strange juxtaposition seem natural.
     In "The River Swayle, Yorkshire," Mrs. Marion Ogden offers a rich piece of water and woodland painting with figures showing something of the Constable inspiration and much of the atmosphere of the northern country it depicts.
     No exhibition of paintings is complete without its Venetian sketches and in a view of "Isola San Giorgio, Venice," H.T. Rutherford supplies this traditional feature. It is a pleasing handling of a subject that is as usual among European artists as the Lions of Vancouver art to those of British Columbia.
     Not least among the fine exhibits may be noted a collection of five clever miniatures from the delicate brush of Mrs. H. Bulwer, who shows a great genius for this almost lost branch of the art of portraiture. There are also several good examples of the miniature work of Mrs. A.G. Hodgins.