Judge — October 23, 1926 — page 18: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

CUPID AND PSYCHE (Above) A powerful bit of symbolism by McGuinness which, on its premier in Boston, caused a series of Back Bay riots—due to its fearless handling of the erotic problem. Though one of the earliest opi of the maestro, one is still moved to marvel at such complete mastery of the genius of the medium. Surely, one exclaims to one’s raptured self, chewing gum can go no further! NOCTURNE IN A FLAT (Right) A beautiful example of McGuinness's _ powerful overhand motion in work- ing. Nowhere in the antique do we find its equal for sheer plangency, for tactile effect, for strict adhesion to pattern. And the utter modernity of itl Stravinsky might have grasped it, Ornstein drawn it forth from the depths of his magic keyboard, but Chopin—never! And to think that McGuinness owes her technique to years of patient stenography! INVICTUS (Left) Again do we behold the artiste’s reliance upon, and erudite grasp of, dynamic symbolism. Not the effete symbolism of the Orphics, of the Byzantine decadence, nor yet of the Gnostics; but imagery in its unsullied purity. And to think that this glorious contribution to the Art of all time was almost borne to premature oblivion on the criminally careless heel of an admirer! OLD PRETZEL WEAVER (Left) One of the most realistic of the artistes creations in chicle, this divinely rhythmed, socialistically inclined to be sure, but still cosmically of the soil old pretzel weaver of Nuremberg. In- spiration for this observing bit of fenre came to McGuinness while leaf- ing one day through her geography in search of a cigarette paper. In point of rapidity of execution it establishes a high watermark probably never to be surpassed. From stick to com- pleted opus, the time consumed was but twenty-nine seconds. WAKING GAUL (Above) Here we have, alluringly portrayed, the latest development of the McGuinness style. The newly swakened interest in patina. Less rugged of surface, it is true, than her preceding work, but vital nevertheless, and possessing a surface beauty unequaled by contemporary efforts. Nor is there any diminishing of the stark realism of the conception proper, which is endowed with the cosmic unforgettableness of all the artiste’s productions. Beauty comes, and beauty slips away— but the powerful chicle creations of McGuinness, stick! ‘The Strange Art of Gertie McGuinness, Worker in Chewing Gum Brilliant Examples of the Ocuore of America’s Leading Mastiqueuse ————— comicbooks.com