Retrospective exhibition of important works of John Singer Sargent, February 23rd to March 22nd, 1924

The Project Gutenberg eBook of Retrospective exhibition of important works of John Singer Sargent, by Grand Central Art Galleries This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: Retrospective exhibition of important works of John Singer Sargent February 23rd to March 22nd 1924 Author: Grand Central Art Galleries Photographer: Peter A. Juley & Son Release Date: May 21, 2023 [eBook #70823] Language: English Produced by: Richard Tonsing and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) *** START OF THE PROJECT GUTENBERG EBOOK RETROSPECTIVE EXHIBITION OF IMPORTANT WORKS OF JOHN SINGER SARGENT *** John Singer Sargent _RETROSPECTIVE EXHIBITION OF IMPORTANT WORKS_ _of_ JOHN SINGER SARGENT FEBRUARY 23RD _to_ MARCH 22ND 1924 ❦ _GRAND CENTRAL ART GALLERIES_ _GRAND CENTRAL TERMINAL_ [_TAXICAB ENTRANCE_] _15 VANDERBILT AVENUE_ _NEW YORK CITY_ Copyright 1924 by Painters and Sculptors Gallery Association, Inc. All rights reserved for all countries. :: Printed in the United States of America. :: :: Photographs by Peter A. Juley & Son GRAND CENTRAL ART GALLERIES 15 Vanderbilt Avenue New York City TRUSTEES JOHN G. AGAR WALTER L. CLARK WILLIAM A. DELANO IRVING T. BUSH ROBERT W. DEFOREST WALTER S. GIFFORD FRANK G. LOGAN OFFICERS President WALTER L. CLARK Vice President ROBERT W. DEFOREST Secretary and Treasurer WALTER S. GIFFORD FOREWORD The Painters and Sculptors Association is a non-profit-bearing organization established solely to further interest in American Art, and to increase the sales of the work of the living American Painter and Sculptor. The Association is one of contributing artist members and subscribing lay-members, numbering about one hundred and fifty each. This membership is not local; the artists are from various regions extending from coast to coast, while the lay-group is composed of those interested in Art in all of the larger cities of the United States, and including Presidents and Vice-Presidents of ten of the great Museums, together with many officers and directors of these Institutions. There are representatives from New York, Boston, Philadelphia, Brooklyn, Rochester, Buffalo, Washington, D. C., Baltimore, Norfolk, Atlanta, Montclair, Newark, Cleveland, Canton, Dayton, Akron, Aurora, Chicago, Moline, Rockford, Joliet, Detroit, Milwaukee, Minneapolis, St. Louis, Kansas City, Denver, Los Angeles and San Francisco. This makes of the Painters and Sculptors Association a national organization in its extent and far-reaching in its interest. This makes it a clearing house and not merely a local sales place. According to the plan of the organization of the Painters and Sculptors Association, each of the lay-members has pledged an annual subscription of six-hundred dollars for three years, thus providing for that period a subsidy. Each of the artist members presents to the association, as his membership fee, one of his works a year, for three years, this period having been agreed upon as a proper duration to test the practicability of the plan. At the end of the year each of the lay-members has the privilege of receiving one of the works of the Artist members. Delano and Aldrich, architects, have designed and planned the Galleries, numbering at present fourteen. The galleries as they are now open to the public constitute the largest and handsomest salesrooms in either Europe or America, and there is no other place where the work of so many American artists can be seen or where the exhibit can constantly rotate and yet maintain its high standard of excellence. In the eleven months during which they have operated they have been visited by over 110,000 people. In this time it has been demonstrated conclusively that a sales place may partake of the excellence of standard, the beauty of installation, the atmosphere, the character, and the dignity of a modern museum and yet impart quite another form of message. Ownership, and the joy of possession, are the elements in the psychology of the Painters and Sculptors Association. The Association is under the direction of seven men who are nationally known as business executives, and who contribute their time and experience absolutely without remuneration. The sales during the past months have been most encouraging. A number of portrait commissions have been placed, while important paintings and bronzes were installed in leading museums. The First Annual Exhibition, and several of the series of one-man exhibitions have been given and will be followed by more. Several out-of-town exhibitions have been held, when the number of sales was most flattering. Pictures were assembled and shipped from this gallery to Rome. Assistance was rendered the National Academy of Design, the Corcoran Biennial, and the Pennsylvania Academy of Fine Arts, The Art Institute of Chicago, and The Carnegie Institute at Pittsburgh in their exhibitions this season. LAY MEMBERS NEW YORK CITY Mr. John G. Agar Mr. Bartlett Arkell Mrs. Harry Payne Bingham Mr. John Mc E. Bowman Mr. Irving T. Bush Mr. Gale Carter Mrs. Joseph H. Choate Miss Mabel Choate Mr. Walter L. Clark Mr. Wm. H. Clarke Mrs. Otto Kahn Mr. L. A. Osborne Mr. George Foster Peabody Mrs. Willard Straight Mr. H. B. Thayer Mr. Hector W. Thomas Mr. Louis C. Tiffany Mrs. W. K. Vanderbilt Mr. Felix Warburg Mr. Paul Warburg Mr. E. E. Bartlett Mr. L. M. Boomer Mrs. Clarkson Cowl Mr. William A. Delano Engineer’s Club Mr. Victor Guinzburg Mr. Henry W. Cannon Mr. William H. Davis Mr. Robert W. DeForest Mr. Daniel Chester French Mr. Henry J. Fuller Mr. Walter S. Gifford Mr. Joseph P. Grace Mr. John R. Gregg Mrs. E. H. Harriman Mr. August Heckscher Mr. Archer M. Huntington CHICAGO, ILL. Mr. Albert Brunker Mr. Edward B. Butler Mr. R. T. Crane, Jr. Mr. Bernard A. Eckhart Mr. Percy B. Eckhart Mr. William O. Goodman Mr. E. T. Gundlach Mr. Charles L. Hutchinson Mrs. John E. Jenkins Mr. William V. Kelley Mr. R. P. Lamont Mr. Frank G. Logan Mr. Potter Palmer Mr. Julius Rosenwald Mr. Martin A. Ryerson Mr. E. F. Selz Mr. B. E. Sunny Mr. Harold H. Swift Mr. L. L. Valentine Mr. Charles H. Worcester Mr. Charles A. Munroe BOSTON, MASS. General Butler Ames Mrs. Oakes Ames Dr. Richard C. Cabot Mr. William A. Gaston Mr. John Singer Sargent Mr. Edward C. Storrow NEWARK, N. J. Mr. Joseph S. Isidor Mr. Louis Bamberger MONTCLAIR, N. J. Mrs. Henry Lang PHILADELPHIA, PA. Mr. Morris R. Bockius Mrs. Charles Heber Clark Mr. W. M. Elkins Mr. William P. Gest Mr. Samuel Rea Mrs. Edward T. Stotesbury HAZELTON, PA. Mr. Alvan Markle, Jr. ST. LOUIS, MO. Mr. William K. Bixby Mr. Edward A. Faust Mr. Edward Mallinckrodt Mr. Wallace D. Simmons AURORA, ILLINOIS Mr. Frederick G. Adamson Mr. James M. Cowan Captain J. F. Harral Mr. David B. Piersen Mr. Albert M. Snook Mr. Wiley W. Stephens WASHINGTON, D. C. Mr. Charles C. Glover Mr. James E. Parmelee NASHVILLE, TENN. Major E. B. Stahlman INDIANAPOLIS, IND. Mrs. John N. Carey Friends of American Art Miss Lucy M. Taggart Mrs. Thomas Taggart Mrs. H. B. Burnet ROCKFORD, ILLINOIS Mrs. William Hinchliff Mrs. D. M. Keith Mrs. George D. Roper Dr. Louis A. Shultz AKRON, OHIO Mr. Edwin C. Shaw MILLBROOK, N. Y. Mrs. Walter S. Beck MINNEAPOLIS, MINN. Mr. E. L. Carpenter Mr. John R. VanDerlip JOLIET, ILLINOIS Mr. Theodore Gerlach BUFFALO, N. Y. Mr. Charles Clifton KEWANEE, ILLINOIS Mr. W. H. Lyman KANSAS CITY, MO. Mr. Albert R. Jones NORFOLK, VIRGINIA Mrs. William Sloane LOS ANGELES, CALIFORNIA Mr. Paul R. Mabury DUBUQUE, IOWA Mr. W. H. Klauer PITTSBURGH, PA. Miss Helen C. Frick Mr. Howard Heinz CLEVELAND, OHIO Mr. Salmon P. Halle Mr. Samuel Mather Mr. J. H. Wade DETROIT, MICHIGAN Mr. Edsel B. Ford Mr. Richard H. Webber ROCHESTER, N. Y. Mr. George Eastman MILWAUKEE, WISC. Mr. Ernest Copeland Mr. William H. Schuchardt Mr. Walter W. Lange DAYTON, OHIO Mr. J. B. Hayward BALTIMORE, MD. Mr. Van Lear Black DULUTH, MINN. Mr. George P. Tweed CANTON, OHIO Mr. Wendell Herbruck Mr. William S. Kinney ATLANTA, GEORGIA Mr. J. J. Haverty DENVER, COLORADO Mrs. Junius Flagg Brown SAN FRANCISCO, CALIF. Mr. Templeton Crocker MOLINE, ILLINOIS Mrs. Burton F. Peek ST. PAUL, MINN. Mr. Louis W. Hill TOLEDO, OHIO Mr. Edward Drummond Libbey STOCKHOLM, SWEDEN Honorable Robert Woods Bliss BROOKLYN, N. Y. Mr. John Hill Morgan WHIDBY ISLAND, WASHINGTON Mr. Frank J. Pratt, Jr. PAINTER MEMBERS Mr. John Singer Sargent Mr. Charles W. Hawthorne Mr. Frederick Ballard Williams Mr. Chauncey F. Ryder Mr. Frank W. Benson Mr. Edwin Blashfield Mr. W. Elmer Schofield Mr. Oliver Dennett Grover Mr. Edmund Greacen Miss Helen Turner Mr. Gardner Symons Mr. Ezra Winter Mr. Irving R. Wiles Mr. John C. Johansen M. Jean McLane Mr. Daniel Garber Mr. R. Sloan Bredin Mr. Elliott Daingerfield Miss Felicie Waldo Howell Mr. Ernest Ipsen Mr. Murray P. Bewley Mr. Francis C. Jones Mr. Harry Watrous Mr. George Elmer Browne Mr. Edward H. Potthast Mr. Albert Groll Mr. Frederick J. Waugh Mr. Ralph Clarkson Mr. Leopold Seyffert Mr. John Sloan Miss Cecilia Beaux Mr. Roy Brown Mr. E. Irving Couse Miss Lillian Genth Mr. Douglas Volk Mr. G. Glenn Newell Mr. Charles Warren Eaton Mr. Harry A. Vincent Mr. Victor Higgins Mr. Leon Gaspard Mr. Wilson Irvine Mr. Charles H. Woodbury Mr. George H. Hallowell Mr. Birge Harrison Mr. H. Dudley Murphy Mr. Karl Anderson Mr. Leslie P. Thompson Mr. Charles Hopkinson Mr. Philip L. Hale Mrs. Lilian Westcott Hale Mr. Cullen Yates Mr. Ernest L. Blumenschein Mr. Guy Wiggins Mr. William Wendt Mr. Ivan G. Olinsky Mr. Henry W. Parton Mr. Robert W. Chanler Mr. Walter Ufer Mr. Edward C. Volkert Mr. Hobart Nichols Mr. Alson Skinner Clark Mr. Max Bohm (deceased) Mr. Henry R. Rittenberg Mr. Eugene F. Savage Mr. John Noble Miss Anna Fisher Mr. John R. Folinsbee Mr. Karl A. Buehr Mr. Van Dearing Perrine Mr. William Baxter Closson Mr. Albert Sterner Mr. Charles H. Davis Mr. Paul Dougherty Mr. Ben Foster Mr. Charles S. Chapman Mr. Louis Ritman Mr. Putnam Brinley Mr. Charles Morris Young Mr. Wayman Adams Mr. John F. Carlson Mr. Henry B. Snell Mr. Hugh Breckenridge Mr. Paul King Mr. Henry O. Tanner Mr. Horatio Walker Mr. Louis C. Tiffany Mr. Joseph Pennell Mr. F. C. Frieseke Mr. Frederic M. Grant Mr. Carl Krafft Mr. Francis Newton Mr. Julius Rolshoven Miss Pauline Palmer Mr. John Costigan Mr. Clark Voohrees Mr. H. Bolton Jones Miss Gertrude Fiske Mr. Maurice Fromkes Mr. Percival Rosseau Mr. F. Luis Mora Mr. Leonard Ochtman Miss Dorothy Ochtman Mr. Arthur Crisp Mr. Richard E. Miller Mr. Paul M. Gustin Mr. James R. Hopkins Mr. Edward W. Redfield Mr. Randall Davey Mr. Ettore Caser Mr. Nicolai Fechin Mrs. James W. Hailman Mr. A. H. Gorson Mr. Eugene Higgins Mr. Ossip Linde Mr. Robert Reid SCULPTOR MEMBERS Mr. Herbert Adams Mr. Robert Aitken Mr. Daniel Chester French Mrs. Anna Hyatt Huntington Miss Malvina Hoffman Mr. Chester Beach Mr. Frederick MacMonnies Mrs. Evelyn B. Longman Batchelder Mr. James E. Fraser Mr. Lorado Taft Mr. Sherry Fry Mr. Edward McCartan Mr. Cyrus E. Dallin Mrs. Bessie Potter Vonnoh Mr. Attilio Piccirilli Miss Janet Scudder Mrs. Laura Gardin Fraser Mr. Albin Polasek Miss Harriet W. Frishmuth Mr. Mario Korbel Mr. Mahonri Young Mr. John Gregory Mr. Victor Salvatore Miss Renee Prahar Mr. Gutzon Borglum Mr. Paul Jennewein Mr. R. Tait McKenzie Mr. Edward Berge Mrs. Lucy Perkins Ripley Mrs. Anna Coleman Ladd Mr. A. Phimister Proctor Mr. Arthur Putnam Mr. Henry K. Bush-Brown Mrs. Edith Barretto Parsons Mrs. Margaret French Cresson Miss Grace Mott Johnson _An Appreciation_ An Exhibition of the works of Mr. John Sargent is the most important event of the kind that could at this moment happen anywhere, as he is the foremost living painter in the world. So far as one can judge the work of a contemporary, one is justified in predicting immortality for these compositions. Sargent belongs among the great portrait painters of all time, his pictures revealing the mysterious but unmistakable stamp of genius. In fact, everything he does shows this quality, which makes his painting the envy of competitors, and the pride and glory of American art. He has no successful living rival, but is in a class by himself. So true is this, that if I were asked to name the greatest living American, I should unhesitatingly name John Singer Sargent. This Exhibition is for the benefit of the Endowment Fund of the Painters and Sculptors Gallery Association, with which Mr. Sargent has from the beginning been in active cooperation. William Lyon Phelps “_Masters of American Paintings_” _Charles Caffin_ _Courtesy of Doubleday Page & Company, 1902_ “John Singer Sargent has been a favored child of the Muses, and early reached a maturity for which others have to labour long and in the face of disappointments. He, however, has never had anything to unlearn. From the first he came under the influence of taste and style, the qualities which to this day distinguish his work.... With a facility that was partly a natural gift, partly the result of a steady acceptance of the problems presented, he proceeded to absorb his master—Carolus-Duran. Sargent absorbed his breadth of picturesque style, his refined pictorial sense, his sound and scientific method, not devoid of certain tricks of illusion and his piquant and persuasive modernity.... Later, Sargent visited Madrid, and came under the direct spell of Velasquez. The grand line he had learned while a boy, and from Carolus the seeing of colour as coloured light, the modelling in planes, the mysteries of sharp and vanishing outlines appearing and reappearing under the natural action of light, a realism of observation at once brilliant and refined, large and penetrating. Finally, from all these influences, Sargent has fashioned a method of his own. “How shall one describe the method? It reveals the alertness and versatility of the American temperament. Nothing escapes his observation, up to a certain point at least; he is never tired of a fresh experiment; never repeats his compositions and schemes of colour, nor shows perfunctoriness or weariness of brush. In all his work there is a vivid meaningfulness; in his portraits, especially, an amazing suggestion of actuality. On the other hand, his virtuosity is largely French, reaching a perfection of assurance that the quick witted American is, for the most part, in too great a hurry to acquire; a patient perfection, not reliant upon mere impression or force of temperament. In the abounding resourcefulness of his method there is a mingling of audacity and conscientiousness; a facility so complete that the acts of perception and of execution seem identical, and an honesty that does not shrink from admitting that such and such a point was unattainable by him, or that to have obtained it would have disturbed the balance of the whole. Yet, this virtuosity, though it is French in character, is free of the French manner, as indeed of any mannerism. This skill of hand is at the service of a brilliant pictorial sense. Like a true painter, he sees a picture in everything he studies. It gives to each of his canvases a distinct aesthetic charm; grandiose in some, ravishingly elegant in others, delicately quaint in a few, but all of them variously characterized by grandeur of line, suppleness of arrangement, and fascinating surprise of detail; used with extraordinary originality, but always conformable to an instinctive sense of balance and rhythm. “Sargent is not of the world in which he plays so conspicuous a part, but preserves an aloofness from it and studies it with the collectedness of an onlooker interested in the moving show and in its general trends of motive, but with an individual sympathy only occasionally elicited. Sargent has his grip upon the actual, and while in relation to the world and people about him he is almost a recluse, he has delighted his imagination with the seemings and shows of things and with their material significance.” _Modern Artists_ _Christian Brinton_ _Courtesy of Doubleday Page & Company_—_The Sun, 1908_ “Beyond all question Sargent is the most conspicuous of living portrait painters. Before his eyes pass in continuous procession the world of art, science, and letters, the world financial, diplomatic, or military, and the world frankly social. To-day comes a savant, a captain of industry, or a slender, troubled child. Tomorrow it will be an insinuating Semetic Plutus; next week may bring some fresh-tinted Diana, radiant with vernal bloom. Everyone from poet to general, from duchess to dark-eyed dancer, finds place in this shifting throng.... “With the entrance of Sargent into the arena of art cherished conventions disappear in sorry discomfiture. With a dignity and a technical mastery which compel both respect and enthusiasm he tramples upon tradition whenever tradition stands in his way. It is useless to scan these canvases in the hope of finding various qualities which for centuries have been deemed the touchstone of portraiture. Contemplation and reflection are by no means the rule. That adjustment of diverse elements which makes for balanced composition is often lacking. That endearing love of tone for its own sake is frequently absent. The vigorous outline of Holbein, the rich sobriety of Titian, or the permeating magic of Leonardo find but faint echo in the work of this modern innovator. With almost disdainful independence he has declined to repeat the triumphs of the great forerunners. In place of their ideals he has substituted ideals which are resolutely his own. However you may regard his contribution, it is impossible not to recognize its insistent novelty. Once in possession of the underlying facts, there should be no trouble in reading aright the salient, positive art, this art which by turns persuades and repels. Yet one cannot divine just why these high-bred women are so animated, or why the soldiers and statesmen are so emphatic, without first peering beneath the exterior. Though Sargent may himself remain dexterously on the surface, the spectator cannot. It is not enough to watch this conjurer perform his trick; we must see how it is accomplished. “So dazzled has the majority been by what is called the man’s cosmopolitanism that the real racial basis of his nature has been over-looked.... Sargent is American in his fundamental instincts. His adaptability and his very lack of marked bias bespeak the native complexity of his origin. It cannot for a moment be maintained that the French paint themselves as Sargent paints them, or the English either. His art is neither Gallic nor British, it is American, and the chief reason why it is so different from most Anglo-Saxon art is because it is so superior, not because it is unAmerican. In any case the sense of motion remains Sargent’s personal conquest, possibly, even, his chief contribution to portraiture. “In Sargent’s portraits women are in the act of starting from their chairs and men are on the very point of speaking. Here is a dancer whose yellow skirt still swirls in elastic convolutions; there stands a painter lunging at the canvas with sensitively poised brush. All is restless, vivid, spontaneous. One and all these creatures vibrate with the nervous tension of the age. Other artists have given calm, or momentarily arrested motion. Sargent gives motion itself. With a technique facile as it is assertive this magician of the palette, this paganini of portraiture, has lured us into a new world, a world which we ourselves know well—perhaps too well—but a world hitherto undiscovered by painting.” _Art and Common Sense_ _By Royal Cortizzoz_ _Courtesy of Scribner & Son, 1913_ “Sargent studying under the wing of Carolus-Duran, was in an atmosphere sympathetic to new ideas, but not at all inhospitable to old ones. While he emerged from his master’s studio a modern in the best sense of the term, it was with a vein of conservatism in him which has never disappeared. Of how many modern painters, endowed, as he has been, superabundant technical brilliance, could it be said that they have never exceeded a certain limit of audacity? I know of no canvas of his which could fairly be called sensational. One of the least conventional of painters, his art nevertheless remains adjusted to the tone and movement of the world in which he lives—surely a fine example of genius expressing its age. “People complain that Sargent violates the secret recesses of human vanity, and brings hidden, because unlovely, traits out into the light of day; that his candor with the brush is startling, to say the least, and sometimes even perilous. He is accused not simply of painting his sitter, ‘wart and all,’ but of exaggerating the physical or moral disfigurement. If this is true there is something humorous in the spectacle, which is constantly being presented, of men and women running the risk.... Few of his sitters, seem, as we see them on the canvas, to have been passive in his hands. The electric currents of a duel are in the air. Character has thrown down its challenge, the painter has taken it up, and the result is a work in which character is fused with design, playing its part in the artistic unit as powerfully, and almost as vividly, as any one of the tangible facts of the portrait. “In the light of the long procession of portraits which he has put to his credit, it seems to me that if there is a living painter in whose interpretations of character confidence can be placed, it is Sargent. His range is apparently unlimited. He has painted men and women in their prime and in their old age, and in whatever walk of life he has found them, he has apprehended them with the ‘seeing eye’ that is half the battle.... It is worth noticing that it is not his portraits of men, but in his portraits of women, who illustrate far more histrionically the nervous tension of the age, that Sargent has painted his most unconventional compositions. When his subject has permitted him to exchange nervousness for repose, with what felicity he has seized his opportunity! There is not in modern portraiture a more satisfactory study in dignity and noble stateliness than his ‘Mrs. Marquand.’ (Shown in this exhibition) “Sargent is himself in his reading of character in his design, and in his style. To say this is not to forget his indebtedness, where style is concerned, to other painters, even, Carolus-Duran. I think there is something of Carolus-Duran in his mere cleverness which like so much that is fluent and self-possessed in modern craftsmanship, could have been developed in Paris and nowhere else. The broad slashing stroke of Hals has taught him something, it is fair to assume; and the influence of Velasquez in his work is sufficiently obvious. Yet there is not in all his painting the ghost of what it would be reasonable to call an imitative passage. He is no more a modern Hals or Velasquez than he is a modern Rembrandt or Botticelli, for he looks at life and art from a totally different point of view, not simply, or grandly, or tragically, or imaginatively, but with the detached intellectual curiosity of a man of the world.” _American Painting and Its Traditions_ _John Van Dyke_ _Courtesy of Scribner & Sons, 1919_ “Sargent did not wholly achieve art, for some of it was born to him, and some of it, perhaps, was thrust upon him. Training started him right, but his great success is not wholly due to that. Genius alone can account for the remarkable content of his work. “Sargent’s life has been the result of peculiar circumstances—fortunate circumstances some may think; unfortunate others may hold. At least they have been instrumental in bringing forth an accomplished painter whose art no one can fail to admire. That his work may be admired understandingly it is quite necessary to comprehend the personality of the artist—to understand his education, his associations, his artistic and social environments. For if the man himself is cosmopolitan his art is not less so. It is the perfection of world-style, the finality of method. “If I apprehend Sargent rightly, such theory of art as he possesses is founded in observation. Some fifteen years ago, in Gibraltar, at the old Cecil Hotel, I was dining with him. That night, as a very unusual thing, Sargent talked about painting—talked of his own volition. He suggested his theory of art in a single sentence: ‘You see things that way’ (pointing slightly to the left) ‘and I see them this way’ (pointing slightly to the right). He seemed to think that would account for the variation or peculiarity of eye and mind, and with a manner of doing—a personal method—there was little more to art. Such a theory would place him in measured agreement with Henry James whose definition of art has been quoted many times: ‘Art is a point of view, and a genius a way of looking at things.’ “A painter who has been looking at human heads for many years sees more than the man who casually looks up to recognize an acquaintance on the street. I do not mean that he sees more ‘character’—that is more scholarship or conceit, or pride of purse or firmness of will or shrewdness of thought, but merely that he sees the physical conformation more completely than others do. Every one sooner or later moulds his own face. It becomes marked or set or shaped in response to continued methods of thinking and acting. When that face comes under the portrait painter’s eye, he does not see the scholar, the banker, the senator, the captain of industry; but he does see perhaps, certain depression of the cheek or lines about the eyes or mouth in contractions of the lips or protrusions of the brow or jaw that appeal to him strongly because they are cast in shadow or thrown up sharply in relief of light. These surface features he paints perhaps with more emphasis than they possess in the original because they appeal to him emphatically, and presently the peculiar look that indicates the character of the man appears. What the look may indicate, or what kind of phase of character may be read in or out of the look, the portrait-painter does not know or care. He paints what he sees and has as little discernment of a character as of a mind. He gives, perhaps, without knowing their meaning, certain protrusions and recessions of the surface before him and lets the result tell what it may. In the production of the portrait accurate observation is more than half the battle. If a painter sees and knows his subject thoroughly, he will have little trouble in telling what he sees and knows; and to say of Sargent that he observes rightly and records truly is to state the case in a sentence.” OIL PAINTINGS 1 Portrait of MRS. H. F. HADDEN (1878). _Loaned by Mrs. Hadden_ 2 THE LADY WITH THE ROSE—MY SISTER (1882). _Loaned by Mrs. Hadden_ 3 “POINTY” (1884). _Loaned by Mrs. Hadden_ 4 THE SIMPLON. _Loaned by Mrs. Montgomery Sears_ 5 Portrait of MAJOR HIGGINSON _Loaned by Harvard University_ 6 Portrait of EX-PRESIDENT CHARLES W. ELIOT of Harvard University 7 Portrait of PRESIDENT LOWELL. _Loaned by Harvard University_ 8 LAKE O’HARA. _Loaned by Fogg Art Museum_ 9 Portrait of MISS MARY ELIZABETH GARRETT. _Loaned by Johns Hopkins University_ 10 Portrait of MRS. J. WILLIAM WHITE. _Loaned by Mrs. White_ 11 Portrait of MRS. FISKE WARREN AND DAUGHTER. _Loaned by Fiske Warren, Esq._ 12 Portrait of MRS. ENDICOTT. _Loaned by Mr. Wm. C. Endicott, Jr._ 13 Portrait of MRS. WILLIAM HARTLEY CARNEGIE. _Loaned by Mrs. Endicott_ 14 HIS STUDIO. _Loaned by Museum of Fine Arts, Boston_ 15 THE ROAD. _Loaned by Museum of Fine Arts, Boston_ 16 MASTER AND PUPILS. _Loaned by Museum of Fine Arts, Boston_ 17 HEAD OF JOSEPH JEFFERSON. _Loaned by Mr. Sargent_ 18 RECONNOITERING. _Loaned by Mr. Sargent_ 19 Portrait of JOSEPH PULITZER, ESQ. _Loaned by Mrs. Pulitzer_ 20 Portrait of MRS. EDWARD L. DAVIS AND HER SON, LIVINGSTON DAVIS. _Loaned by Mr. Livingston Davis, Boston_ 21 PORTRAIT OF A LADY. _Loaned by Mr. Augustus P. Loring_ 22 Portrait of MRS. AUGUSTUS HEMENWAY. _Loaned by Mrs. Hemenway_ 23 Portrait of EDWARD ROBINSON, ESQ. _Loaned by Mr. Robinson_ 24 EGYPTIAN GIRL 25 SYRIAN GOATS 26 SPANISH STABLE 27 CAMP FIRE. _Loaned by Mr. Thomas A. Fox_ 28 ROBERT LOUIS STEVENSON. _Loaned by Mrs. Payne Whitney_ 29 Portrait of JOHN HAY, ESQ. _Loaned by Mr. Clarence L. Hay_ 30 Portrait of MISS ADA REHAN. _Loaned by Mrs. G. M. Whitin_ 31 Portrait of MR. AND MRS. FIELD. _Loaned by Pennsylvania Academy of Fine Arts_ 32 Portrait of MRS. CHARLES E. INCHES. _Loaned by Mrs. Inches, Boston_ 33 Portrait of MRS. ADRIAN ISELIN. _Loaned by Miss Iselin_ 34 THE HONORABLE MRS. FREDERICK GUEST. _Loaned by Mrs. Phipps_ 35 Portrait of MRS. PHIPPS AND WINSTON. _Loaned by Mrs. Phipps_ 36 Portrait of GENERAL LEONARD WOOD. _Loaned by General Wood_ 37 THE SULPHUR MATCH. _Loaned by Mr. Louis Curtis_ 38 Sketch of EDWIN BOOTH. _Loaned by Mrs. Willard Straight_ 39 A STREET IN VENICE. _Loaned by Mrs. Stanford White_ 40 CYPRESSES AND PINES. _Loaned by Copley Gallery_ 41 Portrait of MRS. HENRY WHITE—NEÉ MARGARET STUYVESANT RUTHERFORD. _Loaned by Honorable Henry White_ 42 Sketch of MRS. HENRY WHITE—NEÉ MARGARET STUYVESANT RUTHERFORD. _Loaned by Honorable Henry White_ 43 Portrait of MRS. JOHN J. CHAPMAN. _Loaned by Mrs. Richard Aldrich_ 44 VENETIAN INTERIOR. _Loaned by Carnegie Institute_ 45 Portrait of HOMER SAINT-GAUDENS AND MOTHER. _Loaned by Mrs. Saint-Gaudens_ 46 GRAVEYARD IN TYROL. _Loaned by Robert Treat Paine, 2nd_ 47 MUSSEL GATHERERS. _Loaned by Mrs. Carroll Beckwith_ 48 THE FOUNTAIN. _Loaned by Art Institute of Chicago_ 49 Portrait of MRS. CHARLES GIFFORD DYER. _Loaned by Art Institute of Chicago_ 50 Portrait of MRS. THOMAS LINCOLN MANSON. _Loaned by Mrs. Kiliaen Van Rensselaer_ 51 MOORISH COURTYARD. _Loaned by Mr. James H. Clarke_ 52 VENETIAN BEAD STRINGERS. _Loaned by the Buffalo Fine Arts Academy_ 53 INTERIOR—THE CONFESSION. _Loaned by Mr. Desmond Fitzgerald_ 54 Portrait of MISS KATHARINE PRATT. _Loaned by Mr. Frederick S. Pratt_ 55 Portrait of MRS. EDWARD D. BRANDEGEE. _Loaned by Mr. Brandegee_ 56 Portrait of PETER CHARDON BROOKS, ESQ. _Loaned by Mrs. R. M. Saltonstall_ 57 Portrait of MRS. DAVE H. MORRIS AS A GIRL. _Loaned by Mrs. Morris_ 58 Portrait of MR. AND MRS. I. N. PHELPS STOKES. _Loaned by Mr. Phelps Stokes_ 59 Portrait of MRS. MARQUAND. _Loaned by Mr. Allan Marquand_ 60 THE CHESS GAME. _Property of Grand Central Art Galleries_ WATER COLORS 61 PALMS 62 SHADY PATHS—VIZCAYA 63 BOATS AT ANCHOR 64 DERELICTS 65 THE POOL 66 MUDDY ALLIGATORS 67 THE BASIN—VIZCAYA 68 THE LOGGIA—VIZCAYA 69 THE BATHERS 70 THE TERRACE—VIZCAYA 71 THE PATIO—VIZCAYA _Loaned by Worcester Art Museum_ 72 THE MIST. _Loaned by Mrs. J. D. Blanchard_ [Illustration: 32 Portrait of MRS. CHARLES E. INCHES _Loaned by Mrs. Inches, Boston_ ] [Illustration: 41 Portrait of MRS. HENRY WHITE—NEÉ MARGARET STUYVESANT RUTHERFORD _Loaned by Honorable Henry White_ ] [Illustration: 11 Portrait of MRS. FISKE WARREN AND DAUGHTER _Loaned by Fiske Warren, Esq._ ] [Illustration: 31 Portrait of MR. AND MRS. FIELD _Loaned by Pennsylvania Academy of Fine Arts_ ] [Illustration: 9 Portrait of MISS MARY ELIZABETH GARRETT _Loaned by Johns Hopkins University_ ] [Illustration: 7 Portrait of PRESIDENT LOWELL _Loaned by Harvard University_ ] [Illustration: 6 Portrait of EX-PRESIDENT CHARLES W. ELIOT, FORMERLY OF HARVARD UNIVERSITY _Loaned by Harvard University_ ] [Illustration: 58 Portrait of MR. AND MRS. I. N. PHELPS STOKES _Loaned by Mr. Phelps Stokes_ ] [Illustration: 2 THE LADY WITH THE ROSE—MY SISTER (1882) _Loaned by Mrs. Hadden_ ] [Illustration: 5 Portrait of MAJOR HIGGINSON _Loaned by Harvard University_ ] [Illustration: 59 Portrait of MRS. MARQUAND _Loaned by Mr. Alan Marquand_ ] [Illustration: 33 Portrait of MRS. ADRIAN ISELIN _Loaned by Miss Iselin_ ] [Illustration: 30 Portrait of MISS ADA REHAN _Loaned by Mrs. G. M. Whitin_ ] [Illustration: 29 Portrait of JOHN HAY, ESQ. _Loaned by Mr. Clarence L. Hay_ ] [Illustration: 10 Portrait of MRS. J. WILLIAM WHITE _Loaned by Mrs. White_ ] [Illustration: 50 Portrait of MRS. THOMAS LINCOLN MANSON _Loaned by Mrs. Kiliaen Van Rensselaer_ ] [Illustration: 22 Sketch of MRS. AUGUSTUS HEMENWAY _Loaned by Mrs. Hemenway_ ] [Illustration: 18 RECONNOITERING _Loaned by Mr. Sargent_ ] [Illustration: 8 LAKE O’HARA _Loaned by Fogg Art Museum_ ] [Illustration: 14 HIS STUDIO _Loaned by Museum of Fine Arts, Boston_ ] [Illustration: 51 MOORISH COURTYARD _Loaned by Mr. James H. Clarke_ ] [Illustration: 17 HEAD OF JOSEPH JEFFERSON _Loaned by Mr. Sargent_ ] [Illustration: 19 Portrait of JOSEPH PULITZER, ESQ. _Loaned by Mrs. Pulitzer_ ] [Illustration: 36 Portrait of GENERAL LEONARD WOOD _Loaned by General Wood_ ] [Illustration: 1 Portrait of MRS. H. F. HADDEN (1878) _Loaned by Mrs. Hadden_ ] [Illustration: 34 THE HONORABLE MRS. FREDERICK GUEST _Loaned by Mrs. Phipps_ ] [Illustration: 23 Portrait of EDWARD ROBINSON, ESQ. _Loaned by Mr. Robinson_ ] [Illustration: 42 Sketch of MRS. HENRY WHITE—NEÉ MARGARET STUYVESANT RUTHERFORD _Loaned by Honorable Henry White_ ] [Illustration: 45 Portrait of HOMER SAINT-GAUDENS AND MOTHER _Loaned by Mrs. Saint-Gaudens_ ] [Illustration: 35 Portrait of MRS. PHIPPS AND WINSTON _Loaned by Mrs. Phipps_ ] [Illustration: 20 Portrait of MRS. EDWARD L. DAVIS AND HER SON, LIVINGSTON DAVIS _Loaned by Mr. Livingston Davis, Boston_ ] [Illustration: 43 Portrait of MRS. JOHN J. CHAPMAN _Loaned by Mrs. Richard Aldrich_ ] [Illustration: 37 THE SULPHUR MATCH _Loaned by Mr. Louis Curtis_ ] _Facts Concerning This Exhibition_ In bringing together this retrospective exhibition of Mr. John Sargent’s important works in this country, we feel that we are rendering a service to the American people. It is unquestionably the most important and most valuable collection ever assembled by a Living Artist, and it is interesting to note that the insurance policy placed on the collection amounts to nearly a million dollars. The Grand Central Art Galleries is a no profit organization and its efforts are dedicated solely to the interests of the living American Artists. Mr. John Singer Sargent has personally selected and approved all of the paintings in this exhibition and in choosing this Gallery he has greatly honored this organization. An Invitation granting free admission to the exhibition to Art Students is being sent to all of the leading Art Schools; an admission charge to all others, to defray the cost of the exhibition, will be made. ------------------------------------------------------------------------ FRAMES _designed by_ M. GRIEVE COMPANY 155 EAST FORTY-SECOND ST., NEW YORK _Branch_: LONDON, ENGLAND Specialists in the Framing of Old Master Pictures [Illustration: Pat. 3233 Flemish Gothic 17th Century ] Importers of Genuine Antique Gilt Carved Wood Painting Frames [Illustration: Pat. 3215 Italian 16th Century ] [Illustration: Pat. 3014 Flemish Gothic 16th Century ] [Illustration: Pat. 1877 Spanish 18th Century ] [Illustration: Pat. 3455 Spanish 16th Century ] [Illustration: Pat. 1751 Spanish 17th Century ] [Illustration: Pat. 3095 Spanish 16th Century ] _Two Centuries of Frame Making_ In the year 1721 in a small Flemish village lived Grieve, a famous maker of masterful picture frames; whose sole ambition was to please the tastes of the great painters of his time. The best mid-eighteenth century frames were made by him and his disciples. Grieve was the first to conceive the possibilities in his chosen field and to realize that a painting to be rightly appreciated had to be surrounded by a frame chosen artistically and with due regard to the effect of the painting on the spectator and of the whole as a work of art. Neither chance nor fashion entered into their construction. On the contrary, they were the result of a distinctive aesthetic sentiment for the beautiful in conjunction with an almost scientific appreciation of what would enhance the intelligent understanding of the picture. The demand at that time was so insistent that Grieve was obliged to teach the tedious task of gilding and wood-carving to the members of his immediate family; from that moment began this great family of frame makers. Not content with their conquest in Belgium, the Grieves moved to London, which offered them a larger opportunity, and established there a still more progressive branch of the parent institution. As is the case with all progressives, they were constantly on the watch for new fields to conquer and as America seemed particularly inviting, M. Grieve the youngest of the family, moved to New York and established the largest hand-carved wood frame factory in the world. The Grieve of old still lives, and the sacred flame which he kindled is still kept burning by the single American representative of this great family of frame makers. The American Grieve has progressed with the times. He has revolutionized the ancient art of his forefathers to conform with the demands of modern times; he has perfected a method of manufacturing through quantity production the same quality of art frames which the Grieves before him carved out laboriously at considerable expense. _That the GRIEVE Frame adds quality to your picture is a fact which is recognized by the foremost Art Dealers and Painters in this Country._ Importers of Genuine Antique Gilt Carved Wood Painting Frames Specialists in the Framing of Old Master Pictures Address After May 1st, 1924: 234 East 59th Street Macbeth Gallery 15 East Fifth-seventh Street ❦ Founded in 1892 for the Exhibition and Sale _of_ Paintings by American Artists ❦ “_ART NOTES_” and Catalogues of Exhibitions mailed on request ❦ William Macbeth INCORPORATED [Illustration: Painted by G. Morland FOX HUNTING Engraved by E. Bell ] KENNEDY & CO., 693 FIFTH AVENUE, NEW YORK (Successors to H. Wunderlich & Co.) FINE OLD ENGLISH COLOR PRINTS OF SPORTING, HUNTING, SHOOTING and NAVAL SUBJECTS _RARE AMERICAN HISTORICAL PRINTS_ FINE ETCHINGS BY OLD AND MODERN MASTERS _Important Exhibition_ WATER COLOR DRAWINGS _By_ FRANK W. BENSON _and_ RARE TRIAL PROOFS _OF HIS_ ETCHINGS AND DRY-POINTS DURAND-RUEL _Paintings_ PARIS 16 RUE LAFFITTE NEW YORK 12 EAST 57TH STREET JOHN LEVY GALLERIES _Paintings_ 559 FIFTH AVENUE 28 PLACE VENDOME PARIS GORHAM _Bronzes by_ American Sculptors Large and Small Pieces cast of the finest material in the Gorham Foundries, and exhibited at the Gorham Galleries FIFTH AVENUE AND 36th STREET NEW YORK [Illustration] EARLY CHINESE ART Swelling ovoid-shaped Vase of light buff pottery, having its two loop handles at the base of the neck connected by a collar. The opalescent glaze of old turquoise-blue is minutely crackeled and encrusted with reddish earth. The lip, which has been broken, is encased in a copper band. The glaze completely covers the vase, including the base, which is slightly concave. The form of this jar is truly noble and the beauty of its glaze is impossible to describe. Persian influence on Chinese art is here especially noticeable, for this specimen might easily be taken for a fine piece of Rakka ware. Tang Dynasty: 618–906 A. D. Height: 13 inches. Greatest diameter: 10 inches. _Parish-Watson & Co. inc. 560 Fifth Avenue New York_ _Old Chinese Porcelains and Sculptures Archaic Chinese Bronzes and Jade Rare Persian Faience_ P. JACKSON HIGGS ELEVEN EAST FIFTY-FOURTH STREET, NEW YORK _Works of Art_ ➿︎︎ OLD MASTERS ⁘ RENAISSANCE BRONZES ⁘ TAPESTRIES ⁘ GREEK AND ROMAN EXCAVATIONS NOW ON EXHIBITION _American Representative of_ THE BACHSTITZ GALLERY _The Hague Holland_ Charles Scribner’s Sons [Illustration] Fifth Avenue, New York _A Group of Notable Books on Art_ REMBRANDT AND HIS SCHOOL. _By Prof._ JOHN C. VAN DYKE. _Limited to 1,200 copies_ $12.00 EDWIN AUSTIN ABBEY. The Record of His Life and Work. _By_ E. V. LUCAS. _200 illus. 2 vols._ $30.00 AMERICAN ARTISTS. _By_ ROYAL CORTISSOZ. _Illustrated_ $3.00 NEW GUIDES TO OLD MASTERS (The Galleries of Europe). _By Prof._ JOHN C. VAN DYKE. LONDON—National Gallery, Wallace Collection. $1.25. PARIS—Louvre. $1.25 AMSTERDAM—Rijks Museum; THE HAGUE—Royal Gallery; HAARLEM—Hals Museum. $1.25 ANTWERP—Royal Museum; BRUSSELS—Royal Museum. $1.25 MUNICH—Old Pinacothek; FRANKFORT—Staedel Institute; CASSEL—Royal Gallery. $1.25 BERLIN—Kaiser Friedrich Museum; DRESDEN—Royal Gallery. $1.25 VIENNA—Imperial Gallery; BUDAPEST—Museum of Fine Arts. $1.25 _The Universal Art Series_ _Each volume profusely illustrated_ LANDSCAPE PAINTING. _By_ C. LEWIS HIND $8.50 Vol. I. From Giotto to Turner. MODERN MOVEMENTS IN PAINTING. _By_ CHARLES MARRIOTT $7.50 DESIGN AND TRADITION. _By_ AMOS FENN $8.50 THE ART OF ILLUSTRATION. _By_ E. J. SULLIVAN $8.50 SCULPTURE OF TO-DAY. _By_ KINETON PARKES Vol I. America, Great Britain, Japan $8.50 Vol. II. Continent of Europe $9.50 _General History of Art Series_ Each volume is written by a representative authority and contains between 500 and 600 illustrations, reproduced from carefully selected originals. _$3.00 each_ ART IN GREAT BRITAIN AND IRELAND. _By Sir_ WALTER ARMSTRONG ART IN NORTHERN ITALY. _By Dr._ CORRADO RICCI ART IN FRANCE. _By_ G. MASPERO ART IN FLANDERS. _By_ M. MAX ROOSES ART IN SPAIN AND PORTUGAL. _By_ MARCEL DIEULAFOY _Classics of Art Series_ A library of art specially distinguished by profuseness and completeness of illustration, in full-page plates. CHARDIN. _By_ HERBERT E. A. FURST. _45 plates_ $7.00 DONATELLO. _By_ MAUD CRUTTWELL. _81 plates_ $6.25 FLORENTINE SCULPTORS OF THE RENAISSANCE. _By_ WILHELM BODE, Ph.D. $6.00 LAWRENCE. _By Sir_ WALTER ARMSTRONG. _41 plates_ $6.50 MICHELANGELO. _By_ GERALD S. DAVIES. _126 plates_ $7.50 RAPHAEL. _By_ A. P. OPPE. 200 _plates_ $7.50 REMBRANDT ETCHINGS. With 330 examples. _By_ A. M. HIND. _2 vols._ $12.00 ROMNEY. _By_ A. B. CHAMBERLAIN. _72 plates_ $7.00 TINTORETTO. _By_ EVELYN MARCH PHILLIPPS. _61 plates_ $6.25 TITIAN. _By_ CHARLES RICKETTS. _181 plates_ $9.75 TURNER. _By_ A. FINBERG. _100 plates_ $6.00 VELASQUEZ. _By_ A. DE BERUTTE. _94 plates_ $7.50 _Contemporary British Artists_ _Edited by_ ARTHUR RUTHERSTON _Each volume with about 35 plates._ _$2.00 each_ GEORGE CLAUSEN AUGUSTUS JOHN PAUL NASH WILLIAM ORPEN WILLIAM NICHOLSON WILLIAM ROTHENSTEIN _Two Books on Oriental Art_ JAPANESE COLOUR PRINTS _By_ LAURENCE BINYON _and_ J. J. O’BRIEN SEXTON _With 16 plates in color and 28 in half-tone, illustrating more than 50 prints_ $25.00 AN INTRODUCTION TO THE STUDY OF CHINESE PAINTING _By_ ARTHUR WALEY, _Assistant in the British Museum_. _With 50 plates_ $20.00 The Scribner Bookstore _for Rare Books on the Fine Arts_ Rare and unusual volumes on American, English, Continental, and Oriental painters and paintings, such as: THE WORK OF JOHN SINGER SARGENT. With an introductory note _by_ ALICE MEYNELL BODE’S COMPLETE WORK OF REMBRANDT ARMSTRONG’S GAINSBOROUGH SIR JOSHUA REYNOLDS. _By_ WALTER ARMSTRONG PETRUCCI, ENCYCLOPÉDIE DE LA PEINTURE CHINOISE MICHEL, HISTOIRE DE L’ART _12 volumes_ [Illustration] _Scribner Books at All Bookstores. All Books at the Scribner Bookstore_ _Fifth Avenue at Forty-eighth Street_ ARTISTS FRAMING CO., _Inc._ _PICTURE FRAMES of HIGHEST QUALITY_ 57 East 59th St., New York J. LOWENBEIN, _Pres._ PLAZA 1680 [Illustration: JEAN FRANCOIS GROLIER _Master Printer of the Sixteenth Century_ ] Compare the crude methods of printing used in the Sixteenth Century with the modern craftsmanship which enables us to produce a book of this character. [Illustration: Chelsea 8053–54 ] _The Grolier Craft Press_ INCORPORATED 229 West 28th Street NEW YORK CITY We Buy Paintings _by_ Inness Wyant Martin Homer Fuller Blakelock Twachtman Weir Remington Ryder Duveneck Murphy Thayer Robinson Moran L’Hermitte Israels Corot Dupre Jacque Diaz Daubigny Rousseau Cazin AINSLIE GALLERIES 677 FIFTH AVENUE, NEW YORK ESTABLISHED 1885 [Illustration: CRICHTON & CO. LTD. Goldsmiths and Silversmiths New York—636 Fifth Avenue (corner of 51st. Street) Chicago—618 So. Michigan Avenue. Silver Tea and Coffee Service—copied from a fine George II model Crichton Reproductions made in London are faithful copies of classic patterns, which maintain the high standards of the Early English master silversmiths. Distinguished originals, in old English, Irish and Scottish Silver are included in the Crichton collection.] CRICHTON & CO. LTD. _Goldsmiths and Silversmiths New York—636 Fifth Avenue (corner of 51^{st.} Street) Chicago—618 So. Michigan Avenue._ [Illustration: Silver Tea and Coffee Service—copied from a fine George II model ] Crichton Reproductions made in London are faithful copies of classic patterns, which maintain the high standards of the Early English master silversmiths. Distinguished originals, in old English, Irish and Scottish Silver are included in the Crichton collection. FRENCH & COMPANY _Works of Art_ 6 EAST 56TH STREET, NEW YORK ANTIQUE TAPESTRIES VELVETS EMBROIDERIES FURNITURE DECORATIONS The Milch Galleries _Dealers in American Paintings and Sculpture_ Wayman Adams Gifford Beal George Bellows George De Forest Brush Bruce Crane Elliott Daingerfield Thomas W. Dewing Nicolai Fechin Leon Gaspard Albert Groll Childe Hassam Robert Henri Hobart Nichols Gari Melchers Willard L. Metcalf William Ritschel Eugene Speicher D. W. Tryon Horatio Walker Guy Wiggins F. Ballard Williams ❦ Max Bohm R. A. Blakelock Gedney Bunce Henry Golden Dearth Winslow Homer George Inness J. Francis Murphy Abbott H. Thayer John H. Twachtman J. Alden Weir A. H. Wyant 108 WEST 57th STREET, NEW YORK CITY [Illustration: 1632—Princess of Orange _by Nicholas Maes_—1693 ] Ehrich Galleries 707 Fifth Avenue At Fifty-fifth Street New York ❦ Paintings by Old Masters PAINTINGS _of_ DISTINCTION _American and European_ DUDENSING GALLERIES 45 WEST 44TH STREET, NEW YORK LINCOLN MOTOR CARS [Illustration: _Cabriolet De Luxe Body by Le Baron_ ] THE LINCOLN GALLERIES PARK AVENUE AT FORTY-SIXTH STREET PARK CENTRAL MOTORS, Inc. VANDERBILT 9761 MEMBER PARK AVENUE ASSOCIATION “_The House of Wedding Presents_” _Exclusive Gifts_ Miss E. A. Higgs Mrs. F. M. Carleton 21 East Fifty-fifth Street, New York [Illustration: Photographers to the National Academy of Design Peter A. Juley & Son _Photographers of Fine Arts Since 1896_ 219 East 39^{th} Street~New York City _Telephone_: Vanderbilt 3494 ] [Illustration: _WAGNER & LISZT painted for the Steinway Collection BY N C WYETH_ ] STEINWAY _THE INSTRUMENT OF THE IMMORTALS_ Occasionally the genius of man produces some masterpiece of art—a symphony, a book, a painting—of such surpassing greatness that for generation upon generation it stands as an ideal, unequaled and supreme. For more than three score years the position of the Steinway piano has been comparable to such a masterpiece—with this difference: A symphony, a book, a painting, once given to the world, stands forever as it is. But the Steinway, great as it was in Richard Wagner’s day, has grown greater still with each generation of the Steinway family. From Wagner, Liszt and Rubinstein down through the years to Paderewski, Rachmaninoff and Hofmann, the Steinway has come to be “the Instrument of the Immortals” and the instrument of those who love immortal music. _Steinway & Sons and their dealers have made it conveniently possible for music lovers to own a Steinway. Prices: $875 and up, plus freight at points distant from New York._ STEINWAY & SONS, Steinway Hall, 109 E. 14th Street, New York [Illustration: THE RESTAURANT SURPRISE FAMILIAR TO THE CONTINENTAL TOURIST VOISIN 375 PARK AVENUE ENTRANCE 53^{rd} ST. NEW YORK ] _Correct Lighting of Valuable Paintings_ Correct illumination is as necessary for the valuable painting in the home as for those in the great galleries. FRINK REFLECTORS are scientifically designed to fulfill this purpose. Each picture is treated according to its characteristic requirements. Frink Lighting is used in such prominent galleries as the Freer Memorial Art Galleries as well as in many private galleries. I. P. FRINK, Inc. 24th St. and 10th Ave., New York Branches in Principal Cities [Illustration: AETNA] [Illustration: AETNA] The paintings in this exhibit are insured under a Fine Arts Policy with the Automobile Insurance Company of Hartford, Conn. _affiliated with_ Aetna Life Insurance Company Aetna Casualty and Surety Co. [Illustration: AETNA] [Illustration: AETNA] DeLANOY & DeLANOY _INSURANCE_ TWO WALL STREET NEW YORK LAVEZZO & BRO. INC. _DIRECT IMPORTERS OF_ ITALIAN ANTIQUE FURNITURE AND WROUGHT IRON WORK 154 EAST 54th STREET NEW YORK ANTIQUE WORKS OF ART _Furniture_ _Paintings_ [Illustration: _Portrait painted in 1884 by John S. Sargent_ ] KIRKHAM & HALL 31 East 57th Street, New York WILLIAM KIRKHAM GLENN HALL [Illustration: “FOREST OF ARDEN” _By_ ALBERT P. RYDER From the A. T. Sanden Collection just acquired by Ferargil, Inc. ] _Offering the_ American Masterpieces _By_ Albert Pinkham Ryder _Just transferred from the Metropolitan Museum of Art, New York_ Together with important works by A. B. Davies, J. Alden Weir, Frank Duveneck, H. G. Dearth, Theodore Robinson, John H. Twachtman, George Inness, Robert Spencer and famous sculptors. _Exhibition of Works by Horatio Walker February 16th until March 4th, 1924_ MESSRS. PRICE and RUSSELL 607 FIFTH AVENUE NEW YORK _PACKERS AND MOVERS OF WORKS OF ART_ ESTABLISHED 1867 W. S. BUDWORTH & SON COLLECTING AND PACKING FOR ART EXHIBITIONS A SPECIALTY _TELEPHONE COLUMBUS 2194_ 424 West Fifty-Second Street New York City [Illustration: _Marie Sterner_ _Albert Sterner_ ] Under the direction of Marie Sterner (Mrs. Albert Sterner) The Art Patrons of America, Inc. will hold an Exhibition of American Paintings in London, Paris and Venice during the coming season. Americans going abroad, it is hoped, will patronize this Exhibition. List of Patrons and other particulars upon request to Mrs. Muriel Boardman, Twenty-Two West Forty-Ninth Street, New York City. Mrs. Wm. Payne Thompson, _President_ Mrs. Egerton L. Winthrop, _Vice President_ Mrs. Muriel Boardman, _Secretary_ Alaric Simson, _Treasurer_ Marie Sterner, _Director_ INTERNATIONAL STUDIO PEYTON BOSWELL, _Editor_ Just as a gallery exhibition of the finest American painting and sculpture is an inspiration and a source of rich enjoyment, so International Studio is for its readers a monthly exhibition of the significant art of all the world. Quality alone limits its field; painting, sculpture, architecture, the decorative arts, all of these in their most beautiful forms, make it truly America’s greatest art magazine. 75 cents the Copy _Published Monthly by_ INTERNATIONAL STUDIO, INC. 49 West 45th Street, New York 6 Dollars the Year _The_ ART NEWS An International Newspaper of Art PEYTON BOSWELL, _Editor_ This periodical, unique of its kind in the world, is read by art lovers in scores of countries. It has subscribers in such distant lands as Japan, China, Siam, India, Australia, South Africa and Peru, and is especially looked upon as indispensable by art lovers of the United States, Canada, England and the Continent. _Published Weekly from October 15 to June 30 Monthly during July, August and September_ $4.00 a year. $4.35 in Canada 49 West 45th Street New York City ARLINGTON GALLERIES CHARLES E. HENEY, PROP. 274 MADISON AVENUE NEW YORK _Established 1908_ TEL. MURRAY HILL 3372 _Paintings of Quality by_ Thomas Sully George Inness A. H. Wyant Homer Martin Ralph Blakelock Robert Spencer Robert Reid Daniel Garber George Bellows Bruce Crane Martha Walter Paul Cornoyer Gari Melchers Thos. Gainsborough J. B. C. Corot A. Schreyer Josef Israels Narcisse V. Diaz Jules Dupre Chas. Jacque H. W. Mesdag Martin Rico Alfred Stevens J. G. Vibert J. C. Cazin C. F. Daubigny AND OTHER NOTED MASTERS CANVAS To the Artist what could be of greater value than knowing the foundation for his work is secure? Devoe Canvas is manufactured from the finest raw materials and prepared by experts who with their years of experience are capable of producing Canvas as nearly perfect as possible for human hands to make. We also manufacture Artists’ Oil Colors, Brushes and Materials to meet the demands of both Professional and Amateur. Devoe & Raynolds Co., Inc. New York Chicago [Illustration: K-C] KENT-COSTIKYAN FOUNDED 1886 485 FIFTH AVENUE—SIXTH FLOOR NEW YORK _Opposite Public Library_ ❦ _IMPORTERS_ Antique and Modern Rugs _from_ Persia, China, India and the Caucasus ❦ _Rugs woven to order in Orient_ [Illustration: logo] Arden Studios, Inc. & Arden Gallery Mrs. James C. Rogerson 599 FIFTH AVENUE ❦ _Interior Furnishings and Decorations_ ❦ Wood Paneling _and_ Painting—Period Furnishings Hangings, Silks, Velvets, Cretonnes, Rugs, Carpets Original Treatment _of_ Walls _and_ Ceilings Painted Furniture _from_ Exclusive Arden Designs ❦ _Interesting exhibitions bearing educationally upon Decorating and Furnishing are held at frequent intervals in Art Gallery_ Consultations with Mrs. Rogerson may be made by appointment REINHARDT GALLERIES Their New Address 730 Fifth Avenue _Corner of 57th Street_ New York PAINTINGS [Illustration: _Pearls_ _Jewels_ _Precious Stones_ DREICER & C^o _560 fifth Avenue New York_ PALM BEACH _Jeannette Building Lake Trail_ ] M. KNOEDLER & CO. (_ESTABLISHED 1846_) _High Class Paintings_ By Old and Modern Masters Select Water Color Drawings Old and Modern Etchings Old Engravings Old English Mezzotints and Sporting Prints Competent Restoring Artistic Framing LONDON 15 Old Bond Street PARIS 17 Place Vendome NEW YORK 556–558 Fifth Avenue SCOTT & FOWLES _Art Galleries_ 667 FIFTH AVENUE Between 52nd and 53rd Streets NEW YORK CITY ❦ _Paintings_ _Drawings_ ❦ _BRONZES BY_ _PAUL MANSHIP_ ------------------------------------------------------------------------ TRANSCRIBER’S NOTES 1. Silently corrected obvious typographical errors and variations in spelling. 2. Retained archaic, non-standard, and uncertain spellings as printed. 3. Enclosed italics font in _underscores_. 4. Denoted superscripts by a caret before a single superscript character or a series of superscripted characters enclosed in curly braces, e.g. M^r. or M^{ister}. *** END OF THE PROJECT GUTENBERG EBOOK RETROSPECTIVE EXHIBITION OF IMPORTANT WORKS OF JOHN SINGER SARGENT *** Updated editions will replace the previous one--the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. 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