Chapter I: 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_

32 Portrait of MRS. CHARLES E. INCHES

_Loaned by Mrs. Inches, Boston_
]

41 Portrait of MRS. HENRY WHITE—NEÉ MARGARET STUYVESANT RUTHERFORD

_Loaned by Honorable Henry White_
]

11 Portrait of MRS. FISKE WARREN AND DAUGHTER

_Loaned by Fiske Warren, Esq._
]

31 Portrait of MR. AND MRS. FIELD

_Loaned by Pennsylvania Academy of Fine Arts_
]

9 Portrait of MISS MARY ELIZABETH GARRETT

_Loaned by Johns Hopkins University_
]

7 Portrait of PRESIDENT LOWELL

_Loaned by Harvard University_
]

6 Portrait of EX-PRESIDENT CHARLES W. ELIOT, FORMERLY OF HARVARD
UNIVERSITY

_Loaned by Harvard University_
]

58 Portrait of MR. AND MRS. I. N. PHELPS STOKES

_Loaned by Mr. Phelps Stokes_
]

2 THE LADY WITH THE ROSE—MY SISTER (1882)

_Loaned by Mrs. Hadden_
]

5 Portrait of MAJOR HIGGINSON

_Loaned by Harvard University_
]

59 Portrait of MRS. MARQUAND

_Loaned by Mr. Alan Marquand_
]

33 Portrait of MRS. ADRIAN ISELIN

_Loaned by Miss Iselin_
]

30 Portrait of MISS ADA REHAN

_Loaned by Mrs. G. M. Whitin_
]

29 Portrait of JOHN HAY, ESQ.

_Loaned by Mr. Clarence L. Hay_
]

10 Portrait of MRS. J. WILLIAM WHITE

_Loaned by Mrs. White_
]

50 Portrait of MRS. THOMAS LINCOLN MANSON

_Loaned by Mrs. Kiliaen Van Rensselaer_
]

22 Sketch of MRS. AUGUSTUS HEMENWAY

_Loaned by Mrs. Hemenway_
]

18 RECONNOITERING

_Loaned by Mr. Sargent_
]

8 LAKE O’HARA

_Loaned by Fogg Art Museum_
]

14 HIS STUDIO

_Loaned by Museum of Fine Arts, Boston_
]

51 MOORISH COURTYARD

_Loaned by Mr. James H. Clarke_
]

17 HEAD OF JOSEPH JEFFERSON

_Loaned by Mr. Sargent_
]

19 Portrait of JOSEPH PULITZER, ESQ.

_Loaned by Mrs. Pulitzer_
]

36 Portrait of GENERAL LEONARD WOOD

_Loaned by General Wood_
]

1 Portrait of MRS. H. F. HADDEN (1878)

_Loaned by Mrs. Hadden_
]

34 THE HONORABLE MRS. FREDERICK GUEST

_Loaned by Mrs. Phipps_
]

23 Portrait of EDWARD ROBINSON, ESQ.

_Loaned by Mr. Robinson_
]

42 Sketch of MRS. HENRY WHITE—NEÉ MARGARET STUYVESANT RUTHERFORD

_Loaned by Honorable Henry White_
]

45 Portrait of HOMER SAINT-GAUDENS AND MOTHER

_Loaned by Mrs. Saint-Gaudens_
]

35 Portrait of MRS. PHIPPS AND WINSTON _Loaned by Mrs. Phipps_
]

20 Portrait of MRS. EDWARD L. DAVIS AND HER SON, LIVINGSTON DAVIS

_Loaned by Mr. Livingston Davis, Boston_
]

43 Portrait of MRS. JOHN J. CHAPMAN

_Loaned by Mrs. Richard Aldrich_
]

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

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_Branch_: LONDON, ENGLAND

Specialists
in the
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of
Old Master
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Pat. 3233 Flemish Gothic 17th Century
]

Importers of
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Pat. 3215 Italian 16th Century
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Pat. 3014 Flemish Gothic 16th Century
]

Pat. 1877 Spanish 18th Century
]

Pat. 3455 Spanish 16th Century
]

Pat. 1751 Spanish 17th Century
]

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

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
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NEW YORK
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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

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 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_

_Scribner Books at All Bookstores.
All Books at the Scribner Bookstore_

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ARTISTS FRAMING CO., _Inc._

_PICTURE FRAMES
of
HIGHEST QUALITY_

57 East 59th St., New York
J. LOWENBEIN, _Pres._ PLAZA 1680

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.

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
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Jacque
Diaz
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Rousseau
Cazin

AINSLIE GALLERIES
677 FIFTH AVENUE, NEW YORK
ESTABLISHED 1885

CRICHTON & CO. LTD.

_Goldsmiths and Silversmiths
New York—636 Fifth Avenue (corner of 51^{st.} 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.

FRENCH & COMPANY

_Works of Art_

6 EAST 56TH STREET, NEW YORK

ANTIQUE TAPESTRIES
VELVETS
EMBROIDERIES
FURNITURE
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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
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Henry Golden Dearth
Winslow Homer
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Abbott H. Thayer
John H. Twachtman
J. Alden Weir
A. H. Wyant

108 WEST 57th STREET, NEW YORK CITY

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_

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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

]

_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

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.