M 
 
 583 
 
 .A34 
 
 1919 
 
CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 FINE ARTS LIBRARY 
 
The original of tiiis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924102156175 
 
REPORT ON THE PAINTINGS 
 
 OF THE 
 
 T. B. WALKER ART COLLECTIONS 
 
 BY 
 
 PROFESSOR EUGEN NEUHAUS 
 
 AND 
 
 LIEUTENANT SEYMOUR DE RICCI 
 
 Prof. Neuhaus is an Instructor in the Department of Drawing 
 and Art, University of California, and Lecturer on the History 
 and Theory of Art, Mills College, California. 
 
 He is the author of: 
 
 "The Arts of the Exposition," "Galleries of the Exposition," 
 "The San Diego Garden Fair"; "Painters, Pictures and the Peo- 
 ple." 
 
 Lieutenant Seymour de Ricci, of Paris, France, came to the 
 United States as one of the members of the French Educational 
 Mission sent by the Government of France to examine and study 
 the Art and Educational Institutions of this country in 1916 and 
 while in Minneapolis Lieutenant de Ricci made a careful examina- 
 tion of the paintings in the Walker collection. 
 
 Also Other Testimonials and Letters concerning 
 the Various Art Collections of the Walker Galleries 
 
 CORNELL UNIVERSITY .UBRAHX.. 
 
 3 1924 102 156 175 
 
 MINNEAPOLIS. MINNESOTA 
 

 i i''«.>,' 
 
REPORT OF PROFESSOR NEUHAUS ON 
 COLLECTION OF PAINTINGS 
 
 At Galleries of Old Homestead of T. B. Walker 
 Hennepin Avenue and Eighth Street, and 
 at the Public Library Art Room, Hen- 
 nepin Avenue and Tenth Street. 
 
 The seeker of the beautiful, whose knowledge of art is based in the 
 main upon the great treasures of European Galleries would, I am sure, 
 receive many startling surprises upon his first visit to the Walker Galleries 
 in Minneapolis; a private gallery generously opened to the public daily, yet 
 is far from being as well known as the great museums on this Continent 
 and abroad, whose names are constantly on people's lips. 
 
 It is very difficult, indeed, for me through fear of being accused of 
 making exaggerated statements, to set forth my impressions appropriately 
 of this notable collection, but I feel that the only way in which justly and 
 adequately to describe the T. B. Walker Gallery at Minneapolis, is to say 
 that it teems with great works of art, chosen with rare discrimination from 
 the field of paintings and ceramics, carved Jades, porcelains and pottery, 
 Roman and Egyptian jewelry; the paintings alone, however, are considered 
 in this report. And it may be safely asserted that not only among private 
 collections, but also as compared to the leading public galleries, it ranks 
 among the greatest, in comprehensiveness, variety of subjects and artistic 
 quality, permitting a clear insight into the important European periods of 
 painting, beginning with the Italian Renaissance, and reaching into the 
 Romanticistic periods of Europe, towards the end of the last century. More- 
 over, to the student of art of our own country, this splendid collection is no 
 less interesting, showing in many typical examples, the struggles for artistic 
 expression and ultimate achievements of our earlier painters, in the field of 
 portraiture, as well as in landscape painting. 
 
 The gathering of this superb collection of over three hundred and 
 forty paintings, exclusive of about one hundred thirty Indian paintings and 
 about two hundred and seventy miniatures, besides about eighty paintings 
 at the Public Library, hereinafter mentioned, has obviously been made with 
 persistent care for what is representative, expressive and beautiful alike, 
 the owner not having committed the all too common mistakes of so many 
 guileless collectors, to whom any work by a man of reputation is ipso facto 
 of artistic worth. Primarily, this is the collection of a man who, above 
 everything else, satisfied his strongly developed aesthetic sense, thereby 
 stamping his individual taste upon his accumulated treasures. The tawdry, 
 gaudy or the sensational, so often met with in American collections, as well 
 as abroad, find here no place; a restrained note of refinement characterizes 
 this very remarkable aggregation which, owing to the very subtlety of its 
 
appeal, discloses to the student, gradually, bur increasingly, its many fine 
 aesthetic assets. 
 
 The pleasant memory of the retrospective European section of the 
 Panama Pacific International Exposition, at San Francisco, in 1915, gleaned 
 with great care from the leading galleries of the continent, pales into insig- 
 nificance, in comparison with the choice works of European art, in the 
 Walker collection. The instructive value to America of this notable collec- 
 tion can not be placed too high, and when once it becomes intell'ectually 
 accessible to the great masses, perhaps as a part of a great University, 
 properly aided by dignified publicity, instructive supplementary lectures and 
 other forms of popular enlightenment, it will perform an even greater 
 educational service than it now gives. 
 
 For nearly two weeks I have most carefully examined the paintings and 
 after recommending the removal of some few among them, I have no hesi- 
 tancy in saying that the collection is composed of genuine examples of the 
 masters whose names they bear; works of the older English, Italian and 
 Dutch schools and somehow, among all of the schools, even where signa- 
 tures are not to be found on the pictures, appear to have been correctly 
 attributed, to their respective schools. The most extensively imitated 
 school, the Barbizon, is, I am very happy to state, represented in this genu- 
 ine and excellent collection and works of such men as Corot, Diaz, Daubig- 
 ney, Troyon, Millet, Jacques, Rousseau, the Dupres, Harpignes and other 
 lesser men. 
 
 Although the collection is undoubtedly handicapped by the limited 
 space it occupies at present, nevertheless, it gives a distinct impression of 
 orderliness and systematic arrangement. Still one must confess that such a 
 splendid collection would be greatly enhanced by ample and spacious sur- 
 roundings^ The present physical restrictions have relegated many first- 
 class canvasses to the obscurity of corners, an exceedingly regrettable cir- 
 cumstance, since one becomes aware of many splendid paintings, which 
 deserve the honor of gracing the center of a wall. 
 
 It is my hope that so sumptuous and instructive a collection will find a 
 permanent and a suitable home, commensurate with its high qualities, where 
 each picture will be given the greatest possible opportunity, to display its 
 expressive and decorative qualities; where each historical group may find 
 itself "en famille," without the interference of alien elements. Only in 
 such surroundings will it be possible to display properly so regal a wealth 
 of art. 
 
 The biographical treatment of the artists in the catalogue is so ample 
 and the subject description likewise so generous, that perhaps the thing 
 most fitting for me to do is to give a comparative artistic evaluation of the 
 individual pictures and the historical groups, as they would impress them- 
 selves upon a discriminating visitor to the Gallery. 
 
 Gallery "A." 
 
 Entering Gallery "A," the visitor at once is impressed by a glorious 
 assemblage of fourteen Cazins; all landscapes of good size, showing the 
 artistic evolution of this prolific painter in a highly instructive fashion. 
 His earlier searching methods, as well as his later free and broad handling 
 of material, here find expression in a great variety of landscape subjects. 
 The sympathetic warmth and poetry of the "Moonlight" (No. 40) place it 
 
 4 
 
among Cazin's very best achievement, while the "Castle by Moonlight," 
 (No. 32), "The Fisherman's Home" (No. 33), and "Fisherman's House," 
 (No. 37), are no less compelling owing to similar qualities. All in all, it 
 is a Cazin group of greatest distinction, hardly equaled elsewhere, in its 
 high standard and variety of subjects. 
 
 The Bouguereau (No. 23) in the same gallery, has all the extraordinary 
 academic correctness of this most popular painter. The sentimental appeal 
 which springs from this canvas is equal to that of his many well known 
 works, which have established for him a lasting preference in the heart 
 of the masses. Rosier (No. 293) has perpetuated the tradition of the 
 Duesseldorf school in his "Charles I," a spacious canvas of great technical 
 charm, and even greater historical anecdotal interest. Pictures like these 
 will always maintain a leading position among the works of that always 
 popular school. 
 
 Near these, a Harpignies (No. 158) strikes a strong poetic note in a 
 haunting moonlight of wonderful design and refinement of execution. 
 Though chronologically rarely counted as one of the Barbizon men, Harpig- 
 nies need fear no comparison with the splendid paintings by Diaz, Corot 
 and other men of 1830, in the adjoining galleries. The "Morning Scene near 
 the Forest of Fontainebleau" (No. 120) commands great admiration for the 
 refined and able juxtaposition of a mellow blue sky and the golden foliage 
 of patterned trees. It is all in all a superb Harpignies. Another by him 
 (157) on a nearby wall, presents convincingly the less decorative style of 
 his earlier period. 
 
 A "Moonlight" (No. 186) by Jettel suggests the more recent phases of 
 outdoor painting, without losing contact with the tradition of the Barbizon 
 men. The remainder of the gallery is made up of two large and very 
 representative Schreyers and a typical Schirmer, a classical landscape of 
 much nobility. Schreyer's depiction of the Arab Horsemen, which won for 
 him an international reputation, is well displayed in the three excellent 
 examples of his art in this collection. There are also hung here, two 
 paintings by George Inness, Jr., of great suggestive power, though strictly 
 belonging to the Americans in another Gallery. "The Evening in the Dela- 
 ware Valley'' (No. 185) is full of the richness of tone and color of the 
 most distinguished later work of his great father, though his technical spon- 
 taniety of handling, proves that he feels and paints independently. His 
 "Rabboni" (No. 181) steeped in a nebulous vagueness so suited to the 
 imaginary quality of religious subjects, is alive with suggestive power and 
 permeated by a fine spiritual feeling for the subject. 
 
 Gallery "B." 
 
 The "pieces de resistance" in Gallery "B" undoubtedly are the Bretons, 
 the Crochepierres and the Ziems. Jules Breton's "The Last Ray" (No. 6) 
 will always be regarded as one of his loftiest efforts. The evening mood 
 of this well composed landscape is no less appealing than the compelling 
 sentiment which lives in this canvas so masterly in its treatment. Land- 
 scape and figures have rarely been united so successfully, as in this truly 
 noble work of art, which is expressive in idea, as well as highly satisfactory 
 in the abstract artistic elements, which have to do with light and dark, line 
 and form, and technical manipulation. No matter what course the devel- 
 opment of art may take, this canvas will always compel highest respect for 
 
its unity of artistic effect. It is a picture which the Louvre could claim, 
 reflecting as it does, the highest standards of nineteenth century French 
 art. The other Jules Breton, "The Evening Call," is no less appealing and 
 typical of his highest achievements (No. 13). 
 
 A very large canvas, one of the largest in the entire collection, is 
 Madame Demont Breton's "Her Man Is On the Sea" (No. 86). Only a 
 woman and a mother could have painted this tragedy of motherhood and of 
 life, in so spiritual a style. Technically, the picture is possessed of much 
 simplicity and freedom in the manipulation of material; nowhere is there 
 that trivial show of dexterity so common in our accomplished French 
 painters. Her methods are deliberately conscious of the limitations of the 
 painter's craft. This work ranks very high as one of the few naturalistic 
 Madonnas, which will bear comparison in nobility of conception with the 
 great Italian paintings of the fifteenth century. 
 
 The Ziems in this gallery easily come up to the standards of this 
 prolific French exploiter of Venetian subjects. Always skillful in handling, 
 almost to the point of mannerism, they carry the spectator away by the 
 gorgeousness of their Turneresque coloring and picturesque assembling of 
 the subject matter. "Celebration on the Grand Canal" (No. 367) presents 
 him at his best among many typical canvasses, by reason of its well- 
 balanced composition, greater repose and richness of color. 
 
 To the many who see in photographic approach, the solution of artistic 
 methods, Crochepierre's two charming interiors (Nos. 54 and 55) will be 
 most satisfactory. Rarely, even, in the works of the renowned Dutch 
 artists, like Van Wenix, has miscroscopic painting been carried further 
 than in those two delicate canvasses. SeH jm has an artist set for himself 
 a more difficult task than did Crochepierre, and it must be admitted that 
 among the great number of those who devoted themselves to similar prob- 
 lems, he achieved a singular and very rare contrast of broad masses of 
 light and dark, with acute accentuation of detail in those parts, which called 
 for emphasis, such as the hands and face, and minor accessories. His 
 "Woman Rocking the Cradle," cannot fail to give instruction and enjoy- 
 ment to layman and artist alike, because of its peculiar combination of 
 appealing sentiment and clever, painstaking technical execution. The 
 romantic genre of Crochepierre's, finds varied companionship in several 
 other similar pictures nearby. The Munich man, Emil Rau, makes a very 
 strong bid for popular favor, in his "Return of the Light Cavalry" (No. 
 267), a picture in which are incorporated the story telling elements of the 
 last half of the past century, when Knaus, Vautier and Gruetzner earned 
 the triumphant rewards of apparently unbounded popularity. It is a most 
 typical picture of that period. 
 
 Gabriel Max, another German, emulates the refined art of Bougereau, 
 in his "Treasures of Home" (No. 220), while the three Frenchmen, Lefebre 
 (No. 201), Jean Paul Laurens (No. 200), and Ferrier (No. 128), make an 
 excellent showing with "genre" subjects of technically superb qualities. 
 The Lefebre goes back to Ghirlandajo, in its severe conventional treatment. 
 
 The animal pictures in this room present a great diversity of style, 
 most instructive to the serious student. The Julien Dupre (No. 114) easily 
 takes leadership in this group, disdaining the somewhat polished methods of 
 Watson (No. 355) and Verboeckhoven (No. 352) for securing vigorous con- 
 
trast. The distance in his canvasses is well painted and particularly fine 
 in atmospheric quality. Westerbeek's pastoral scene (No. 356) is perhaps 
 less ample in style, but charming in tonal gradation and restful feeling. 
 
 Gallery "C." 
 
 Galleries "C" and "D" contain many striking examples of the pastoral 
 achievements of the great Barbizon men. To see not merely one, but many 
 first class examples of the leaders of that group, all in closest proximity, 
 is indeed a very great surprise, as well as a most unusual pleasure. It has 
 often been stated that to study intimately such men as Corot, Rousseau, 
 Diaz, Daubigny, Millet, Troyon, one must visit the art galleries of the 
 United States. The Walker collection furnishes convincing proof of this 
 assertion. The Barbizon school — of which this collection is finely repre- 
 sentative — ^has never been equalled in rich coloring intimacy of observa- 
 tion, and poetic feeling. For a fuller understanding of this remarkable 
 group of romantic landscape painters of France, one should make a detour 
 into one of the adjoining galleries, where the father of this school, John 
 Constable, indicates the possibilities of great artistic achievement, by a 
 closer communion with the outdoors. Although still bound by the fetters 
 of the earliest landscape painters of Holland and of France, he strikes a 
 convincing note of realism in all of his bold compositions. That the Bar- 
 bizon men owe this independent Englishman a great debt for the initial 
 inspiration which enables them to set up landscape painting permanently 
 as an independent art, quickly becomes evident on looking at the six very 
 large Constables in Gallery "I." "Lock on the River Stour" (No. 43) epit- 
 omizes this. It is indeed a milestone in the history of art. Fainted with a 
 loaded brush, he gives here a convincing demonstration of his fearless man- 
 ner of composition by bringing into harmony, an intensely animated fore- 
 ground, a middle distance, rich in pattern and contrast, and above all, a 
 powerful structure of storm clouds. Where is there to be seen another 
 Constable to rival this, perhaps his greatest achievement? Placed directly 
 above is the "Sherbourne Collegiate Church,'' which ranks next in its 
 strong composition and great tonal power. His "Home on the River 
 Stour" (No. 44) is full of dramatic quality, while the others in the collec- 
 tion easily sustain Constable's well earned reputation. 
 
 To return to the Barbizon men in Gallery "C," Daubigny singularly 
 claims one's attention first. It has almost become a trite saying among 
 lovers of art, that Daubigny is a much overrated man. The two larger ones 
 by him refute this frequent statement and they must be regarded as in a 
 class by themselves, for purity and luminosity of color, poetic feeling and 
 original composition. There are besides these, three smaller ones typical 
 of Daubigny and one very early one (No. 80) which furnishes the link 
 between Constable and the Frenchmen. Then there are six handsome 
 Troyons, all distinguished alike by power and intimacy. "Contentment" 
 (No. 330) is most daring in its tonal contrasts. The dark, somewhat threat- 
 ening, but very simple sky, is relieved by the red and white pattern of a 
 cow painted in a masterly manner in front of which stands a black donkey, 
 led by a boy in blue. In its simplicity of contrast, this is a most Sitriking 
 and efifective canvas. The characterization of the animals is superb. His 
 "Cattle in Twilight" (No. 328) is full of the poetic sentiment. Rarely has a 
 white cow been painted with such fine understanding of the principles 
 
 7 
 
which the modern impressionists claim as their achievement, in the evolu- 
 tion of art. The employment of blue and green in the shading as contrasted 
 with the reds in the cow in the foreground, illuminated by the last rays of 
 the setting sun, is a marvelous piece of work. "Bringing Home the 
 Lambs" (No. 329) and the "Cows Crossing the Ford" deserve particular 
 mention for the qualities which insure Troyon a lasting place among the 
 great animal painters of the world. 
 
 Connected by family ties to Troyon and moreover closely related in 
 style, Emil Van Marcke augments this group of animal pictures by two 
 striking examples (No. 348), "At Pasture'" and "Homeward Through the 
 Forest." All of Van Marcke's canvasses are painted with consummate skill, 
 but with it he combines a remarkable, intimate understanding of nature. 
 "Homeward Through the Forest" is an unusually rich canvas, a typical 
 paysage intime of great refinement of tone; one of the many masterpieces 
 in the collection. 
 
 Last, but not least, Charles Emile Jacque has contributed two very 
 picturesque canvasses to this group of animal pictures. The fresh color is 
 particularly enjoyable in his "Hot Afternoon" (No. 185) as well as in the 
 smaller, "Shepherd and Sheep" (184). The former is one of the gems of 
 the Walker collection, in a section which is notable for the highest 
 standards. 
 
 The two Dupres — ^Jules the older and Leon Victor, the younger, log- 
 ically call for consideration within this group. Jules Dupre's "Evening" 
 (No. US) and the "Coast of Brittany" (No. 117) show the entire range of 
 his artistic development, from the more hesitating works of his early 
 youth to the bold compositions of his later days, as displayed in the bold 
 sky and technical treatment of his "Coast of Brittany." Leon Victor Dupre, 
 his brother, made a typical contribution in a small Romanesque landscape. 
 Julien's picture of the Cattle I have already mentioned. 
 
 On the same wall, as the small Victor Dupre, Rousseau and Diaz, 
 hold sway, with many excellent examples. 
 
 It is most fortunate that the two largest paintings by Diaz, the one 
 representing a pure landscape and the other a figure group, should be the 
 best, as well. The large green landscape (unnumbered) is a very fine piece 
 of painting, distinctly a painter's painting, by reason of its skillful and 
 ample handling of paint. Though there is only a sky above an open land- 
 scape, one is struck by the bold pattern and strong contrast, as well as the 
 intimate charm of this finest of all Diaz. Immediately above hangs the 
 "Turkish Woman and Children" (No. 100) a subject treated by Diaz under 
 a great variety of titles, and in as many ways. Diaz' fondness for oriental 
 splendor of color made him choose this subject many times, as a vehicle for 
 his decorative and colorful compositions. Though there are seven other 
 versions of this subject in the collection, the largest one undoubtedly is 
 the best among the number in spite of the fact that the choice is a very 
 difficult one. "The Forests of Fontainebleau" (No. 95) deserves especial 
 mention. It stands beside the unnumbered landscape, and is the equal of 
 its neighbors, in every respect but size. 
 
 Intermingled with the Diaz, a number of small but characteristic 
 Rousseaus hold their own, in that distinguished assemblage. "Autumn" 
 (No. 296) is a great Rousseau in every way, though small in size. The 
 technical treatment of this canvas is no less superb than the dramatic 
 
quality of the landscape. Three more Rousseaus are intensely instructive 
 in presenting the earlier and indeed the earliest efforts of this great inter- 
 preter of the French landscape. A little Julien (Simon) "The Coming 
 Storm," on this wall is worthy by reason of its contrast to stand beside 
 them though its method of painting is somewhat mannered. 
 
 The only Millet in the Walker collection is "The Church of Greville" 
 (No. 231), painted again and again by this most sincere of all men of his 
 time. Absolutely free from any clever trickery, and not striving for the 
 sensational effect that one finds among many French painters, this fine 
 Millet has all the noble sentiment that should spring from such a canvas, 
 without falling into a trivial sentimentality. There is no praying, kneeling 
 mother and child at the stone cross, nor a Sunday procession of devoted 
 worshippers. Everything is given in the week day simplicity of a world, 
 which in its struggles for existence finds scant time even on Sunday for 
 formal conventionality. The composition is very well balanced, the sky 
 full of color and animation, while the Church stands solidly in a simply 
 treated foreground. 
 
 Gallery "D." 
 
 (Paintings referred to below will now be found in Gallery "L.") 
 
 Gallery "D" is dominated entirely by the Corots, twelve splendid ones 
 of all sizes dealing with a great variety of subjects. The prevalence of 
 spurious Corots in many American collections, make a visit to this gal- 
 lery a most refreshing experience. In its liquid painting, fluency and ease, 
 as well as its buoyant optimism, this impressive group so thoroughly repre- 
 sentative, furnishes striking evidence of Pere Corot's philosophy of life and 
 of art. His subjects, so simple, need scant explanation; no labels are neces- 
 sary on his frames. The pleasure these delightful pictures give is open to 
 anyone who has a sympathetic feeling for the happier moods of the outdoors. 
 A lyric quality permeates every one of these examples so happily chosen. 
 It is indeed very difficult to single out the leading ones among so' many 
 purely idyllic landscapes. "Midsummer Pleasures" (No. 68) is as typical a 
 Corot as may be found anywhere, while "Aurora Greeting the Dawn" 
 (No.- 64) is one of the very best in the field of imaginative landscapes, 
 peopled with mythological beings. Never at a loss for a new version of a 
 melody entirely his own, he patterns his graceful trees and silvery skies 
 in a great variety of decorative pastoral landscapes. 
 
 Gallery "E.» 
 
 ((Paintings referred to below will now be found in Gallery "K.") 
 
 The dignified and colorful portraits of the eighteenth century English- 
 men, form the nucleus of Gallery "E." Associated with them are their 
 contemporaries, the early American portrait painters, under the leader- 
 ship of Gilbert Stuart. Such men as Loring, the Peales and Trumbull are 
 to be seen here. There are also three classicistic portraits of Napoleon by 
 Baron Gerard, Baron. Gros and Robert Lefevre. Moreover, there are 
 included a very interesting version of Raphael's "Pope Julius II" (No. 
 261), and a painting of Holbein's "Henry VIII" (No. 171). I prefer to 
 call the Raphael a version, because the two similar canvasses of the same 
 subject, one at the Pitti Palace and the other at the Uffizzi at Florence, are 
 naturally so much better known than this one, though it is not at all im- 
 
possible, on account of its peculiar history, that it is the long lost, but 
 original from which the two Italian versions were painted. The "Henry 
 VIII" hangs in such crowded quarters in such an unsatisfactory light that 
 the real beauty scarcely manifests itself. William Dobson, so much 
 ignored, displays his unusual gifts in three totally different canvasses, the 
 finest of which is the portrait of Admiral Blake (No. 108), a striking piece 
 of color and modelling. This, and his "Ear-1 of Pembroke" (No. 109) need 
 never take a second place, no matter how distinguished the company may 
 be. The modelling of the flesh in both these works is masterly and refitted. 
 In fact, the Dobsons easily take first place by virtue of many most excel- 
 lent qualities. 
 
 Sir William Beechey's "George the Fourth" (No. 1), is far above the 
 average Beechey, in robust coloring and characterization of his sitter. 
 Furthermore, there are two portraits of men by Reynolds in this gallery, 
 one of himself (No. 283) and another, "The Banished Lord" (No. 280). 
 The former undoubtedly is one of the many splendid portraits which he 
 was in the habit of presenting to his friends. "The Banished Lord" shows 
 the more emotional contrasts of Italian and Spanish influence, easily 
 traced in his earlier work. The broad contrast of dark, almost black shad- 
 ows, and very restricted areas of light, give a quality of great power to 
 the canvas. 
 
 The human qualities of Sir Henry Raeburn are sympathetically 
 brought to one's attention, in his masterly portraits. The "Bobby Burns" 
 (No. 264), full of human sympathy, hangs beside a magnificent portrait 
 of "James McGregor" (No. 296), perhaps one of the very finest portraits 
 in the Walker Collection. "The Duke of Sussex'' excels in that live quality 
 so rarely found and so universally admired by the profession of painters. 
 Sir Thomas Lawrence's portrait of "Sir Edward Codrington'' (No. 197), 
 is attended by other splendid portraits, all of the highest merit. 
 
 Among the Americans, naturally Gilbert Stuart stands out as the great 
 painter that he is generally conceded to be. His original sketch of Wash- 
 ington, from life (No. 14), as well as the finished portrait (No. 12), appeals 
 primarily because of their brilliant technique, fine modelling and dignity. 
 The Peales, placed side by side, permit some interesting comparisons. 
 These portraits, no doubt, will always have a great historical interest. 
 Greuze, the Frenchman, has added to this group a fine painting of Frank- 
 lin, painted by him during a visit of Franklin to Europe. One cannot 
 praise too highly the lifelike, sober quality of this unusually fine portrait 
 by the painter of "The Broken Pitcher" and other trivial pictures. 
 
 Charles Loring Elliot (No. 123) "Portrait of Daniel Webster," is a 
 very commendable early American work of rather sombre mood, in com- 
 parison with Elliot's usually very cheery portraits. 
 
 Albin Jasper Conant would perhaps never become known to posterity, 
 were it not for his "Lincoln" in the Walker collection. The present agita- 
 tion about the appearance of Lincoln, aroused by the Barnard Statue, might 
 easily be settled by a reference to this canvas, painted with great devotion 
 and profound sympathy, resulting in a remarkably convincing Lincoln. 
 
 Gallery "F." 
 (Paintings referred to below will now be found in Gallery "L.") 
 
 The galaxy of feminine beauties which adorn the next room is at first 
 
 10 
 
so bewildering that only gradually the leading ones begin to stand out, 
 among a group of portraits of women of many periods, which is, collec- 
 tively, most impressive. After a number of visits, I do not hesitate to 
 pronounce the painting of "Vittoria Colonna" by Piombo (No. 257) one of 
 the greatest portraits I have ever seen. Full of repose and calm sincerity, 
 this extraordinary portrait rivals the Mona Lisa; it practically disarms 
 criticism, so perfect does it seem, so radiant with beautiy of line and form 
 and expressive power. I prefer it to all the other portraits of women in 
 this collection. Next in merit of artistic achievement, I should place Sir 
 Joshua's portrait of Mrs. Edmund Burke (No. 281), another superb por- 
 trait. Reynolds rarely excelled this masterpiece, and I can see his keen 
 eyes approvingly look at it, from his serious portrait of himself nearby. 
 Opposite the Mrs. Burke, the adorable Mrs. Siddons, who charmed many 
 contemporaries, is presented in Lawrence's best style. Such freedom of 
 handling, such animated technique are to be found only in Sir Thomas' very 
 best performances. Furthermore, there is here a typical Rubens — one of 
 the best portraits of "Helena Fourment" (No. 302) painted in the less florid 
 but very decorative style of the great Flemish painter. 
 
 Many of the leading English portrait painters, partly met with in 
 Gallery "F," achieve additional distinction in many excellent portraits. 
 There are here two fine Romneys (Nos. 280 and 288), another Lawrence 
 (No. 195), a splendidly modelled child, a Francis Cotes, equal to the best 
 Reynolds, an Allan Ramsay (No. 260), a very stately Queen Charlotte, a 
 Sir Peter Lely of great elegance and execution, form and expression, and 
 a "Gypsy Girl" by John Opie (No. 247) and two George Henry Harlows 
 (Nos. 161 and 162). Together with Rubens, Cornelius Janssen's (No. 188) 
 and Jan Van Ravensteyn (No. 266) uphold the very highest and best tradi- 
 tions of the Dutch in this room, although the greater number of Dutch 
 paintings will call for consideration later — Daniel Mytens (No. 242), Bar- 
 tolomew Van Du Heist (No. 163). The other Italians in this gallery who 
 share distinction with Piombo are Guido Reni, in his often painted, well 
 known "Cleopatra." Dr. Waagen, Director of the Royal Gallery at Berlin, 
 during a visit in England at the time this Cleopatra was still in the well 
 known collection of Sir Cecil Miles, pronounced it the original of innum- 
 erable repetitions. There is also a fine Alonzo Sanches, with a portrait of 
 Margarita De Parma (No. 304), and Ghirlandajo's "Laura de Sades" (No. 
 148). 
 
 Gallery "G." 
 
 (Paintings referred to below will now be found in Gallery "L.") 
 
 All the loving care for Nature and deep respect for the traditions of 
 art, find sympathetic expression in a harmonious collection of our early 
 American landscape painters in Gallery "G." 
 
 Typifying the romantic tendencies of the Hudson River School, Cole's 
 (No. 51) large Italian landscape comes as a very great surprise to those 
 who know his numerous illustrative, though imaginative smaller canvasses. 
 It is by far the best Cole that I have ever seen. Among the other early 
 painters represented, one notes typical examples of Henry Inman (No. 
 176), Albert Bierstadt (No. 7), Herman Fueschell (No. 133), G. W. Nich- 
 olson (No. 245), and several others, all calling for special mention for some 
 fine quality. 
 
 11 
 
The two works by George Inness, Sr., are both superb examples of 
 this greatest native painter of the American landscape. The "Harvest 
 Time in the Delaware Valley" (No. 180) is one of the finest of his earlier 
 period I have seen, and his "Cromwell's Bridge" (No. 179), ranks easily 
 among his later efforts, as one of the most superb paintings by Innes. 
 I have no hesitancy in saying that amonpr his more mature works, it repre- 
 sents an exceedingly high degree of success, and it will always be very 
 highly appreciated for its typical Inness quality. 
 
 One of the greatest treasures in the Walker Collection, which is so full 
 of gratifying surprises at every turn, is the very large Charles Wilson 
 Peale, entitled "Harper's Ferry." Stripped of all the restriction that the 
 world is so prone to apply to the Hudson River men, this undoubtedly is 
 the greatest landscape of a truly American subject, painted by an early 
 American painter. The vastness of conception and of execution com- 
 pletely overshadows the excessively detailed workmanship, so customary 
 in that period. If there is anything needed to establish the reputation of 
 Charles W. Peale, permanently this great canvas will do so. The placid 
 evening sky, without even a fragment of a disturbing cloud, is one of the 
 finest blue skies in the history of outdoor painting produced in a period 
 which knew nothing of the impressionistic methods of modern times. 
 The composition is on so large a scale, commensurate with its size, and 
 the detail emphasis in the foreground nowhere interferes with the refined 
 sentiment of this unusually splendid performance. 
 
 One cannot leave this gallery without paying his respects to the spec- 
 tacular Marine, of Thomas Moran (No. 234) and the fine sky in another 
 canvas (No. 233) by his brother, Edward, as well as an excellent Blake- 
 lock, rivalling Monticelli or Diaz in richness of colour. A very early, most 
 conscientious Church, "The Catskill Mountains'' (No. 76) and paintings 
 by many of the other men who participated in the earliest art activities on 
 the continent, are to be found here in interesting examples. 
 
 GaUery "I." 
 
 In the other of the two large galleries, Mr. Walker has assembled a 
 compact group, largely of English and Dutch masterpieces, which I be- 
 lieve is not equalled anywheres else on this continent, in variety and splen- 
 dor. Here we find in great tonal richness among these old masters, a 
 Hobbema, three Claudes, the Constables mentioned before, an almost com- 
 plete dozen of Turners, and a gallery of portraits of indescribable beauty. 
 Among the latter, all of ample size, is a Holbein (the younger), about 
 which I shall say more, later: a Murillo, another Gainsborough, a Franz 
 Hals, a Van Dyck, several Flinkes, a Janssen, a number of Bols and the 
 Rembrandts. They must be seen to be appreciated, and even the most 
 extensive description would fail to convey an adequate idea of their com- 
 manding beauty. 
 
 But let us return for a moment to the Holbein — the portrait of 
 Josephus Antonius d' Acolta. Some day, when we get to the more un- 
 biased and orderly classification and evaluation of our American treasures 
 of art, this great portrait will be ranked as one of the very greatest 
 portraits' on the American continent. This beautiful panel/ is primarily 
 distinguished for its great dignity and repose, its draughtsmanship and 
 colorit. The blue background, a very refined cobalt blue, is scarcely 
 
 12 
 
surpassed in the realm of art. Its simple contrasts of blue, black and 
 flesh color would have been the delight of Whistler. It is a great work 
 of art in every sense, by reason of its striking originality, and it will 
 arouse the utmost enthusiasm in future generations of artists and laymen, 
 alike. , 
 
 The Van Dyck Madonna is also a very typical example of elegant 
 painting, exhibiting another phase of his brilliant career, while beside it, 
 in "The Marriage of St. Katherine," this master adds yet another example 
 of his prolific art to a display already so rich. Then we come to the 
 Franz Hals (No. 163), "The Burgomaster of Haarlem." While not painted 
 with the wild dash generally thought to be the typical method of Hals' 
 expression, it nevertheless excels in great strength and' in the splendid 
 characterization of his urbane looking sitter. 
 
 Among the smaller portraits, I am impressed by the forceful portraits 
 of Govaert Flink; particularly the "Earl of Carlisle" — one by Janssen; 
 a portrait of a Dutch Woman by Jacob Backer and a very unusual painting 
 by Murillo, of a member of the Spinola family. 
 
 Among the Rembrandts, in the Walker collection, the large canvas, 
 "The Erring Woman before Christ" is preeminent, showing his always 
 modern, extremely broad methods of painting. The "Jacob and Esau" 
 in the Cassel Gallery in Germany is the only work like and perhaps equal 
 to it, though this great canvas has greater clarity and directness of style. 
 The other large canvas, "Joseph and Potipher's Wife," very similar to 
 the one by the same name in Berlin, is unique in composition, very 
 gorgeous in coloring, and one of Rembrandt's finest artistic monuments. 
 Mr. Walker is indeed to be congratulated upon having secured such 
 splendid examples of Rembrandt. 
 
 Ferdinand Bol, so constantly depreciated through insidious comparisons 
 with his teacher, Rembrandt, need take no second place in this distinguished 
 company; his portrait of "An Old Lady," very likely based upon a Rem- 
 brandt, will be claimed as a Rembrandt many times by those who take 
 pleasure in juggling with the reputation of the most famous painters of 
 the world. An aesthetic survey of this remarkable collection offers such 
 endless pleasures, rewarded at every turn with new surprises, that it 
 seems almost hopeless to convey a reasonably accurate impression of its 
 astonishing treasures. While I have mentioned practically all the leaders 
 in the realm of art during the classic periods, I find that Turner, as well 
 as his great precursor, Claude Lorraine, have not been mentioned 
 by me. Claude's great "Sunset in an Italian Harbor" is to be ranked 
 with the typical Claudes in the great collections of Europe, while his two 
 other open landscapes exhibit in a striking way his other equally popular 
 style. The Turners and Constables occupy an entire wall, exhibiting in 
 large and typical style, the gradual development of these greatest of all 
 English landscape painters, from the formal beginnings of their classical 
 landscapes, to the unparalleled richness and decorative interpretation of 
 Venetian canals and Italian scenery. A very rich Monticelli has been fit- 
 tingly included on the Turner wall. 
 
 The number of smaller works of great distinction, hung in this gal- 
 lery, wherever space' permitted, is very considerable and consists of both 
 landscape and portraiture. Among them are the Francesco Guardi (No. 
 152), a Julian Rix (No. 285), and a Constable (No. 44), all very rich in 
 
 13 
 
Gallery "J." 
 
 color. The contents of this one room alone, would fill a museum of mod- 
 erate size, and there are yet far more to come. 
 
 Though diversified in the character of its contents the largest southern 
 gallery is dominated by many classic landscapes of great power, most of 
 them by the eminent Dutch painters, others by the leading earlier French- 
 men, and one very early Wilson, a companion to the splended canvas by 
 him, in another gallery. 
 
 It is no exaggeration to state that Nicholas Berchom's "Waterfall" 
 (No. 3), Albert Cuyp's ideal Dutch Landscape, his "Shepherds in the Val- 
 ley of the Maas" (No. 73) — the "Wayside Inn" by Jan Wynants, and 
 last, but not least; the "Hunters Resting at the Fountain," by Rudolph de 
 Jongh uphold the splendid tradition of the independent Dutchmen. 
 
 The large landscape of Albert Cuyp, with the Dordrecht Church in 
 the distance, is unsurpassed by the many splendid canvasses of this most 
 original designer, which are to be seen at Amsterdam, the Hague, or the 
 Museums of Germany, where so many of the best Dutch paintings have 
 been owned for many years. 
 
 The de Jongh is another masterpiece of design and of coloring, mar- 
 velous in boldness of composition, altogether one of the noblest canvasses! 
 in the gallery. Above it hangs a fine Hobbema of ample proportions and 
 on the opposite wall, a Gerritsz Cuyp, quite on a par with those of his son, 
 Albert. Somewhat obscured in a corner, a powerful landscape composition 
 by de Loutherbourg (No. 215) calls attention to the well deserved reputa- 
 tion of this artist, who is not often met with in the leading galleries. One 
 of the most perfect academic pieces in this gallery is the "Coriolanus" by 
 no less a man than Nicolas Poussin, whose very correct Italian works are 
 now generally regarded as having inaugurated the glorious attainments of 
 three hundred years of French art. Faultless in its draughtsmanship and 
 composition, this canvas radiates such a beauty of form as one only ob- 
 serves in the works of the very greatest. The aesthetic pleasure one may 
 enjoy in this spacious room is unlimited, and I shall merely single out 
 the paintings which in my opinion stand out above the rest. 
 
 Among the figural compositions there are three Madonnas by Murillo, 
 two of them large in size, the largest of which is particularly beautiful 
 by reason of its color. Beside it is a crucifixion by Wynock Van Wesel, 
 an early German work excellently drawn. One of Goya's alluring ladies 
 of life size and painted in the loose manner of his best period, hangs 
 nearby, a superb Van Dyck — "The Children of Charles the First (Without 
 the Dog)" (No. 120). 
 
 Among the others seen here is to be noted a very unusual portrait by 
 Landseer, exceedingly rich in contrast. His "Three Dogs" (No. 199) nol 
 only one of his greatest achievements, but also one of the very finest 
 pictures in the Gallery, hangs nearby. 
 
 Rosa Bonheur's giant "Lion" displays her most spectacular tendencies 
 to a degree greater than has ever come to my attention. The characteriza- 
 tion of the lion is magnificent; she has succeeded admirably in her presenta- 
 tion of the King of Beasts. 
 
 The Three Michels (George) in the Walker Collection are all of high 
 standard, the largest, as is so often the case with other masters, leading in 
 power. Michel — the contemporary of Goya, cannot fail to come into his 
 
 14 
 
own, by reason of the same bold independence, which has led to the sud- 
 den cult of the works of his great Spanish contemporary. 
 
 The very numerous collection of over 130 striking portraits of the 
 leading representatives of North American Indian tribes, scouts and pioneer 
 generals, will have an increasing historical, ethnological value, of the 
 greatest import to popular and scientific education. 
 
 Not housed with the great bulk of his art treasures, and generously 
 loaned as an educational exhibit, about eighty additional pictures, be- 
 longing to the Walker collection, are on display in the Public Library in 
 Minneapolis. Of great variety, and coming from many of the leading 
 schools, this separate collection contains a great variety of excellent 
 examples of the painters' art. In passing by the walls of this Gallery, I 
 observed a splendid Gainsborough lapscape of superbly rich color, several 
 other Sir Godfrey Knellers, a typical and very beautiful Lawrence, a Sir 
 Peter Lily, a Reynolds, a Joseph Highmore, and a Richard Wilson — 
 very rich and luminous in color. A Diogones of great power and beauty, 
 and two other masterly Riberas, are conspicuous above others, while a 
 colorful Bonifazio near at hand, should not be overlooked because of its 
 distinctly rich quality and color. I can merely mention, among old and 
 new schools, a Thomas Moran, three genre pictures by Plassan, Comans 
 and Ritzberger, another fine sheep composition by Jacque, Wilhelm Von 
 Kaulbach's important large cartoon for the "Fall of Babel" in the New 
 Museum of Berlin, and a Henry Lerolle lanscape, and furthermore, a 
 charming portrait of a Young Lady, by Jan Van Ravensteyn. Even old 
 Crome has made his contribution and likewise the well known Andreas 
 Achenbach, to mention only a few most worthy of being singled out, 
 among many others that deserve attention. Two very large Napoleons, 
 one by Davis, the other by Gerard, and the portraits of his first, as well 
 as his second wife, appear here in equally spacious style. These four 
 large canvasses are excellent pieces of academic painting, in the more 
 severe style of the classisistic tendencies of the Empire. 
 
 In conclusion, I wish once more to refer to a phase of art appre- 
 ciation which is so often given too much emphasis; this is the question 
 of the genuineness or authenticity of pictures. I may say at once, that 
 when one considers the astonishing number of great names met with 
 here, it is a pleasant and gratifying task to discuss the matter of the 
 authenticity of the pictures in the Walker Gallery. Practically all the 
 pictures carry the most convincing marks of veracity, and even where 
 there may be some slight doubt, one can at any rate honestly say, that 
 aside from the question of genuineness, all the canvasses are intrinsically 
 very beautiful. I am fully aware of the common prejudice of the old world 
 against American collections, a prejudice which I admit is often warranted, 
 but in the case of the Walker collection, a notable exception must be made, 
 even by these experts who believe that their reputation must be upheld 
 by a mysterious attitude of doubt. 
 
 If this collection of paintings is kept intact, and I hope that it will 
 never be scattered, their assemblage will constitute one of the greatest 
 accomplishments in the field of ideal achievement. While Mr. Walker 
 has enjoyed a life-long gratification from his treasures, he amply deserves 
 in addition, the gratitude of a nation, which is so rich in material wealth, 
 but still is in so much need of the treasures of the spirit. 
 
 EUGEN NEUHAUS. 
 
Lieutenant Seymour de Ricci of Paris, France, came to the United 
 States as one of the members of the French Educational Mission sent 
 by the Government of France to examine and study the Art and Educa- 
 tional Institutions of this country. The Mission visited Minneapolis 
 in December, 1918, and while here Lieutenant de Ricci made a careful ex- 
 amination of the paintings in the Walker collection at the Old Homestead 
 of Mr. T. B. Walker, Hennepin Ave. and Eighth St., and at the Public 
 Library, Hennepin Ave. and Tenth St. His letter to Mr. Walker, express- 
 ing his very decided views and best judgment of these collections appears 
 below, following which will be found a detailed report by him on the paint- 
 ings in the gallery: 
 
 New York, April 28, 1919. 
 Mr. T. B. Walker, 
 
 Dear Mr. Walker: I have carefully examined in your collection and 
 in the Public Library, over four hundred and twenty paintings (exclusive 
 of the collection of Indian and Military portraits numbering over one hun- 
 dred and thirty and over two hundred Miniatures). 
 
 I have no hesitation in declaring that, to the best of my knowledge and 
 judgment, over ninety percent of them are genuine, original pictures by the 
 artists whose names they bear and that all the others (with the exception 
 of two or three) are unquestionably original works of art of the school and 
 period represented. 
 
 The progress made of late years in the scientific knowledge of works of 
 art has enabled us to correct many old attributions and if such careful 
 examinations were made, the more correct attributions might be deter- 
 mined as to the remaining ten percent. There need be no anxiety as to 
 the percentage of questionable or uncertain attributions, as there is not 
 a single large public or private collection which does not contain an equal 
 or much higher percentage of incorrectly labelled pictures, and few of the 
 greatest galleries contain such a large proportion as yours of fine, genuine, 
 original paintings by old and modern masters. 
 
 I strongly advise collectors not to remove hastily from their galleries 
 any pictures which may be questioned by experts, but to hang them in less 
 conspicuous places, as such pictures may turn out to be genuine, after all, 
 contrary to expert opinion, as has been shown in many cases. I therefore 
 have no hesitation in expressing the opinion that the whole of your collec- 
 tion of paintings should be exhibited on the .walls and none removed from 
 the galleries. 
 
 On the whole, you have every reason to feel that you have been unusu- 
 ally successful in forming this great collection, which by its size, its general 
 quality of high-grade art, the number of schools represented and the va- 
 riety of subjects, gives distinction to Minneapolis as one of the greatest 
 art centers of the United States. Your gallery contains an ample selection 
 of well chosen, fine examples, illustrating all the great schools of painting 
 from the fifteenth to the nineteenth century and constitutes a magnificent 
 art museum of the highest art and educational value for present and future 
 generations. 
 
 Your large collection of the prominent Indian chiefs, scouts and com- 
 manders in the Indian Wars, while considered only in a general way, is I 
 
 16 
 
feel, of very great importance and is a very fine collection of frontier por- 
 traits and will become more and more of interest and value to future gener- 
 ations. The miniatures constitute a most striking collection of many of 
 the notable historical persons of the past centuries, both Americans and 
 Europeans. (Signed) SEYMOUR de RICCI, 
 
 Paris 18 rue Boissiere. 
 
 DETAILED REPORT ON PAINTINGS BY 
 LIEUTENANT SEYMOUR DE RICCI. 
 
 GALLERY "A". 
 
 The fourteen important Cazins constitute one of the finest collections 
 of this artist's worlf to be found in any gallery. This collection within 
 itself constitutes a most important art collection. No. 23, Wm. A. 
 Bouguerau, "April Showers," one of the very finest examples of this 
 great artist. No. 347, Uttenburger "Scene on the Coast of Italy,'' very 
 finely toned, beautifully painted picture by this artist. No. 181 Geo. Innes, 
 Jr., "Rabboni," a very beautiful, important religious painting. No. 21, 
 Boulanger, "Daily News-reading at the Barber Shop of Licinius," a very 
 attractive, beautiful picture painted in blue by this notable artist. No. 286, 
 Julian Rix, "Landscape Scene on the Delaware," the finest example of this 
 artist's work. No. 183, George Innes, Jr., "Evening on the Delaware 
 Canal," another wonderfully fine example of this artist's work. Nos. 1S6, 
 157 and 15S, Harpignies — three of the finest paintings by this artist that I 
 have ever seen. No. 293, Jean G. Rosier, "Charles The First — After the 
 Battle of Marston Moor," one of the most striking historical pictures of 
 modern times. 
 
 GALLERY "B". 
 
 No. 86, Mme. Virginie Demont-Breton, "Her Man is on the Sea," one 
 of the finest paintings of Modern Times. No. S, "The Evening Call" — ^by 
 Jules Breton and No. 6, "The Last Ray" — two of Breton's finest works. \ 
 Nos. 362, 363, 366, 367, 368, 369, by Felix Ziem. Six of the most beautiful 
 examples of this noted artist's work. No. 267, Emil Rau, "The Return 
 of the Light Cavalry," a fine picture but not worthy of the place it occupies. 
 No. 308, Adolphe Schreyer, "Evening in Arabia," a very beautiful example 
 by Schreyer. No. 200, Jean Paul Laurens — "Lucretia Borgia," an unusu- 
 ally fine example of this artist. No. 128, Gabriel Ferrier, "Hamlet and 
 Ophelia," an unusually fine, soft picture. No. 201, Jules Lefebvre, "The 
 Jewel Bearer," quite a fine example. Nos. 54 and SS, Crochepierre, "Peas- 
 ant Woman at Prayer" and "Rocking the Cradle" — two of the finest ex- 
 amples of portraiture to be found in any gallery. No. 220, Gabriel Max, 
 "The Treasui;es of Home," one of the finest examples of this artist's work. 
 No. 114, Julian Dupre, "Landscape," the finest example I have seen of this 
 artist's work. No. 355, Wm. Watson, . "Highland Sheep," as beautiful as 
 a Rosa Bonheur or a Landseer. No. 356, Westerbeek — "Pastural Scene in 
 Holland," one of this artist's finest works. No. 362 — Roffiaen et Verboeck- 
 hoven, "Loch Lomond," one of the finest examples of this Artist's work. 
 
 17 
 
GALLERY "C" 
 
 All smaller-sized beautiful Barbizon pictures. Two unusually fine 
 Jacques— eleven fine paintings by Diaz— five by Rousseau— two by Jules 
 Dupre— one by Victor Dupre— six fine important Troyons— six very fine 
 Daubigneys— two unusually fine Van Marckes— a very important Millet. A 
 notable Louis Francais— a Marilhat, a nice small Theodore Frere, and a 
 good Sebastian Galeotti. 30 pictures on East side of room— 12 pictures 
 on West side of room— all genuine, fine paintings. Not a picture in this 
 room that is not genuine and rightly attributed. 
 
 GALLERY "D". 
 
 (Paintings referred to below will now be found in Gallery "L.") 
 
 All the Corots in this room are undoubtedly genuine, fine paintings 
 with a question only as to Nos. 58 and 60. No. 60 probably alright but not 
 certain. No. 58 was painted in his studio by one of his students or fol- 
 lowers. I consider No. 71, attributed to Corregio as a genuine, original 
 painting by that artist. A very, very fine picture. The two Assorios are 
 genuine, fine paintings. The Carlo Dolci is unquestionably a genuine, 
 fine picture. 
 
 GALLERY "E". 
 
 ((Paintings referred to below will now be found in Gallery "K.") 
 
 Everything in this Room is undoubtedly genuine. No question about 
 any paintings excepting as to who painted Holbein's portrait of Henry VIIL 
 Undoubtedly a genuine picture but very probably by some other prominent 
 painter. A splendid, important collection of men's portraits. 
 
 GALLERY "F". 
 
 (Paintings referred to below will now be found in Gallery "L.") 
 
 One of the finest and most select collections of Ladies Portraits that 
 I have ever seen. All fine, magnificent, genuine pictures. (This room and 
 the next one — "G" — containing the American paintings, were the last two 
 rooms examined and the pictures were hurriedly gone over, as the time 
 was short before leaving the city.) 
 
 GALLERY "G". 
 
 (Paintings referred to below will now be found in Gallery "L.") 
 
 Are all fine, genuine examples of the best of the American painters, 
 including George Innes, Sr., Thomas Cole, Alexander Wyant, William 
 Hart, Albert Blakelock, James Hart, George Innes, Jr., Thomas Moran, 
 Frederick Church, James Hamilton, Edward Moran, Swayne Gifford, W. T. 
 Richards, Arthur Parton, Samuel Coleman and various other worthy ex- 
 amples. 
 
 GALLERY "H". 
 
 (This is the Jade Room and is not considered in this report.) 
 
 GALLERY "I". 
 
 Beginning at East end, next to Jade Room: No. 136, "Gentleman in 
 
 Blue," an unusually fine, genuine painting by Gainsborough. No 106 "The 
 
 Light of the World," by Carlo Dolci, undoubtedly a fine example of this 
 
 painter. "Girl and Rabbit," by Sir Wm. Beechey (not in catalog), quite 
 
 18 
 
a fine, attractive picture by Beechey. "Mrs. Carnook,'' by Romney. 
 No. 291 — a splendid, genuine portrait by that notable artist. Verspronck 
 (not in catalog) an unusually good portrait by that artist. Francis Cotes, 
 "Lady Andrews" (not in catalog) a very fine portrait by Cotes. DeBrush, 
 No. 88, "A Celtic Huntress" — a very striking example. Jacob Backer — 
 "Burgomaster's Wife" (not in catalog) a genuine, original example by 
 Backer, but not as fine an example as the Flinck portrait just beyond, al- 
 though very good. No. 323, "Madonna and Child" — ^Tintoretto. Am not 
 sure of its being a Tintoretto, although a genuine, fine painting of that 
 school and period. No. 129, Govaert Flinck, "Burgomaster's Wife," gen- 
 uine, very fine portrait by that artist. No. 208, Jan Lievens, "Dutch Lady 
 with Fan" — a very fine portrait by that artist. Portrait of Michael Angelo 
 by Bugiardini — a genuine and fine painting by that notable artist. No. 122, 
 Van Dyck, "Mother and Child" — a very fine picture painted by Van Dyck 
 himself or in his studio under his direction. Whether it is the original or 
 a replica or school picture painted in his studio, or another edition of the 
 same picture can perhaps never be determined. No. 189 — Janssen, "Earl 
 of Carlisle," quite a fine, original portrait — quite alright. Govaert Flinck's 
 "Young Prince" (not in catalog) alright, no doubt genuine; a fine picture. 
 Ferdinand Bol, "Saskia"' (not in catalog) a reproduction of Rembrandt's 
 Old Lady, which is in Baron Rothschild's collection in Paris. A very fine 
 nortrait and fine reproduction of this painting, done in Rembrand't studio 
 under his direction or influence. No. 153, Franz Hals. Portrait of a Man. 
 A fine, genuine, beautifully painted Franz Hals, in his later, more minute 
 style but undoubtedly genuine. No. 141, Arnold de Gelder, "Blind Simeon 
 and the Christ Child in the Temple," quite alright — a fine, original picture 
 by that artist. No. 10, J. F. Boedekker, "A Noble Lady of Amsterdam"— 
 genuine, quite all right, a good picture. No. 278, "Titus, Son of Rem- 
 brandt," catalogued, known and engraved as a Rembrandt, but attributed 
 in this report to Ferdinand Bol, painted by him in Rembrandt's studio, 
 under his direction or influence and admitted to be as fine as Rembrandt's 
 best work — a very superb picture. No. 350 — the "Holy Family" by Vasari. 
 Quite all right, a genuine, fine picture. No. 13, Ferdinand Bol, "Portrait of 
 an Old Lady," a fine reproduction of Rembrandt's portrait of an Old Lady 
 now in Lady Wantages' collection in England. This ■ one undoubtedly 
 painted in Rembrandt's studio under Rembrandt's influence. (This pic- 
 ture was formerly known as a replica of Rembrandt's Old Lady.) No. 270, 
 Rembrandt, "Joseph Accused by Potiphor's Wife," a replica of the one 
 in the museum of Berlin, painted in Rembrandt's studio under his in- 
 fluence. No. 12, Ferdinand Bol, "Madame Sturkey," one of the very finest 
 and most beautiful pictures. No. 14, Ferdinand Bol — Portrait of a Woman 
 — very characteristic, undoubtedly a genuine picture by Bol. No. 271, 
 Rembrandt, "Portrait of Himself," studio edition of Florence portrait. 
 No. 275 — "Portrait of a Woman" — catalogued as a Rembrandt, but not 
 considered in this report as an original Rembrandt, but a replica or copy 
 made in his studio by one of his pupils — very likely Ferdinand Bol. No. 
 277, Rembrandt — "Erring Woman Before Christ" — undoubtedly and un- 
 questionably one of Rembrandt's finest and greatest pictures. No doubt 
 of its being a genuine, original by him. No. 273, Rembrandt, Portrait of 
 his Sister. Replica of the one in the collection of Sir Frederick Cook, in 
 
 19 
 
Richmond, near London. Fine portrait. No. 272, Rembrandt. Portrait 
 of his wife. A studio copy or replica from Rembrandt's studio. No. 274, 
 Rembrandt, "The Burgomaster." A very fine portrait. Some doubt as to 
 whether by Rembrandt. No. 27S, Portrait of a Woman— catalogued as a 
 Rembrandt. This was probably painted by Jacob Backer in Rembrandt's 
 studio. Gerritz Cuyp (not in catalog). "Picturesque Landscape," a very 
 fine example, genuine. No. 203, "The Resting Place," by Lerolle, a fine 
 picture. No. 170, Hobbema, "A Wooded Landscape," a very good picture, 
 all right. No. '228, Michel, "Fisherman's Hamlet and the Old Mill," a very 
 fine Michel. No. 305, Swanevelt, "Italian Landscape," a very fine, genuine 
 picture. No. 211, Claude Lorraine, "Sunset in an Italian Seaport." No. 
 210, Claude Lorraine, "Classic Landscape." No. 209, Claude Lorraine, 
 "Classic Harbor Scene." These are three unusually fine Claude Lorraines. 
 Nos. 209 and 219 I consider the finest of the three. Benjamin West (not in 
 catalog) "The Judgment of Paris," the finest of Benjamin West's pictures. 
 I. O. de Montalant, "The Ruins of the Acqueduct" — a magnificent picture. 
 No. 236, Monticelli, "Bridal Procession," a magnificent example of Monti- 
 celli. Nos. 331, 340, 33S, 537, 345, 338, 336, 333 and "A View Down the Grand 
 Canal," also a "Vision of Ancient Carthage," in all eleven of the finest, most 
 important collection of Turner paintings to be found in any gallery. All gen- 
 uine, fine, important pictures. Nos. 46, 45, 43, 42 and two other fine exam- 
 ples of Constable, namely "Summertime in the Valley of the Stour" and 
 "The Lock,'' makes an equally important collection as the Turners, which 
 range along the same wall with these Constables, forming an unusually fine 
 and genuine collection of this notable artist's work. Portrait of Rosa Bon- 
 heur, by Herself. A very fine example by this artist. No. 300, Rubens, "Ma- 
 donna and the Two Children," a fine picture; all right. No. 89, Andrea del 
 Sarto, "Madonna and Child," a fine example by that artist. No. 207, Sir 
 Peter Lely, "Portrait of Lady Elizabeth Percy," a fine example by Sir 
 Peter Lely. 
 
 GALLERY "J". 
 
 Schreyer (not in catalog) a very fine, strongly painted Schreyer. Ary 
 Scheffer (not in catalog) "Baptism in the Village Church," another very 
 fine original picture. Schusselle (No. 316) "General Jackson Before Judge 
 Hall," a magnificent historical painting; very fine, important picture. No. 
 285, Julian Rix, "The Winding Brook," a very nice picture. P. V. Berry 
 (not in catalog) "Scene in the Blue Ridge Mountains," quite a good, 
 American picture. No. 44, Constable, "Constable's Artist Home on the 
 Stour," a very beautiful, fine painting by Constable. Sir Wm. Beechey, 
 "Portrait of Lady Reade," a magnificent and very important portrait, un- 
 doubtedly genuine. Jazet, "Battle of Trafalgar," one of the most striking 
 and important military pictures. Johannes Oertel, No. 246, "Easter Tid- 
 ings." No. 361, Ziem, "Scene on the Grand Canal." No. 314, a small 
 Schreyer — all very nice, attractive, small pictures. No. 240, Murillo, "The 
 Nativity." No. 239, Murillo, "The Coronation." No. 241, Murillo, "Ma- 
 donna of the Lily," and another Murillo, "The Bread of Life" (not in cata- 
 log) all four unusually fine, genuine paintings. "The Bread of Life" and 
 "The Coronation," the two finest, but the other two also very attractive, 
 beautiful pictures. Wyneck Van Wesel (not in catalog). "The Cruci- 
 fixion"— a very fine, well preserved painting by that artist. No. 41, Cip- 
 
 20 
 
riana, "The Assumption of the Virgin," a very fine cartoon used in decorat- 
 ing one of the Cathedrals in England. No. 145, Hobbema, "The Old Mill," 
 a very fine, all right picture, undoubtedly. Another Hobbema "Woodland 
 Scene in Guelderland," one of the finest Hobbemas I have ever seen. 
 Antoine Coypel (not in catalog) "Jepthah's Da;ughter" — one of the finest 
 paintings by that artist. No. 152, Frapcisco Guardi, "Venice Looking 
 Seaward," one of that notable artist's finest small pictures. No. 303, Her- 
 man Saft Leven, "A Classical Italian Seaport in Olden Times," one of 
 that artist's most attractive pictures. Van Dyck, "Mystical Marriage of 
 St. Katherine," undoubtedly painted by Van Dyck or in his studio under 
 his direction and influence. A very magnificent picture. No. 354, "Scene 
 in the Franco-Prussian War," by Alexander Walker, a well designed, real- 
 istic picture. Francis Wheatley (not in catalog) "The Three Friends," 
 a very nice painting by Wheatley. August Bbnheur, No. 15, "Cattle Rest- 
 ing in the Shade," a very beautiful picture. No. 18, Rosa Bonheur, "In the 
 Foothills of the Pyrenees,'' a fine example. Sir Thomas Lawrence, "Lady 
 Ogilvie" (not in catalog) a beautiful example of Lawrence. Sir Edward 
 Landseer, "Daughter of the Duke of Wellington" (not in catalog) very 
 fine; unusual example of Landseer. No. 215, de Loutherbourg, "Ancient 
 Fortress at Cassal," quite a fine, beautifully painted picture. No. 120, Sir 
 Anthony Van Dyck, "Children of King Charles the First," genuine; one 
 of the finest examples of this artist that I have seen. No. 11, Peter 
 Von Bloemen — "Old Stone Fort in Flanders," quite a fine example — needs 
 cleaning. No. 205, Chas. Le Brun, "Marius on the Ruins of Carthage," a very 
 fine, important historical picture, all right. No. 293, "Swiss Mountain 
 Cattle," Felix De Vuillefroy — a very attractive mountain scene. Eugene 
 De Cacroix (not in catalog) "The Tiger Hunt," an unusually fine, beauti- 
 fully painted picture by this master. ' Virgel Lebrun, Portrait of Herself 
 (not in catalog) a very fine, original painting. Goya, "Portrait of a Span- 
 ish Lady," a very important, beautifully painted example of Goya (not in 
 catalog). Rosa Bonheur's Lion (not in catalog) one of the strongest and 
 finest animal portraits that I have ever seen. Richard Westall (not in 
 catalog) "Princess Victoria," a very beautiful portrait of Queen Victoria in 
 her youth; undoubtedly by Westall, her teacher. Paulus Moreelse (not 
 in catalog) "Duchess of Modena," undoubtedly a genuine, original portrait, 
 probably by Moreelse, or at least by some equally notable painter. Not 
 a school picture, but an original. Probably as labeled. Richard Wilson, 
 No. 358, "Landscape Scene Near Tivoli," one of the finest, most beautiful 
 paintings by Wilson that I have seen. No. 112, Gaspard Dughet (Poussin) 
 a very fine, original characteristic painting by this artist. Georges Michel 
 "In the Time of the Harvest" (not in catalog) one of the finest and strong- 
 est of Michel's paintings. No. 226, Van der Muellen, "Meeting of the 
 Duke of Lorraine and Marshall Turenne," a very characteristic and at- 
 tractive painting by this artist. No. 357, Richard Wilson, "On the Banks 
 of the Tiber," a very beautiful picture; as fine as a Claude and of similar 
 style. Jan Winants (not in catalog) "A Wayside Inn," one of the finest 
 examples by this notable artist. Ludolph de Jongh, "Hunters Resting at 
 the Fountain" (not in catalog) a very fine example by this artist; a soft, 
 beautiful painting, as fine as an Albert Cuyp. Albert Cuyp, "An Ideal 
 Dutch Landscape" (not in catalog), quite a fine example by this artist. 
 
 21 
 
No. 73, Albert Cuyp. "Shepherds in the Valley of the Maes," one of the 
 finest, most attractive of this artist's paintings. No. 222, J. Meadows, 
 "Fisherman's Village," quite a nice, modern American painting. No. 3, 
 Nicholas Berghem, "A Water Fall," a characteristic and very attractive 
 painting by Berghem. No. 199, Sir Edwin Landseer, "The Three Dogs," 
 one of the most notable examples of this artist's work. No. 309, Schreyer, 
 "Winter Scene in Wallachia," one of Schreyer's finest and most important 
 paintings. No. 315, Schirmer, "Landscape," a very fine example by this 
 artist. Painting attributed to Turner (not in catalog), a most striking view 
 of London; different from any picture I have seen; a very fine one, maybe 
 an early Turner, to whom it is attributed, but not certain. Riesdale-the- 
 Elder (not in catalog) "Rocks, Rills and Templed Hills," this is a very 
 characteristic, important picture by this artist. Poussin, "Clemency of 
 Coriolanus" (not in catalog) one of the finest and most important of 
 Poussin's paintings. No. 311, Abraham Van Stry, "Landscape and Cattle," 
 a very good characteristic painting by this artist. 
 
 GALLERY "K". 
 
 (The paintings referred to below were located in Gallery "K," when 
 examined by Lieutenant de Ricci. They have since been transferred to 
 other parts of the galleries, however, and this gallery now contains the 
 Men's Portraits — formerly in Gallery "E," and hereinbefore reported on.) 
 
 No. 22 Boulanger, "Pleasant Hours in the House of LucuUus," a well 
 known and very attractive painting by Boulanger. Peter Lastman (not 
 in catalog) "Tryptic Martyrdom of St. Stephen," a very interesting and 
 undoubtedly genuine original painting by Rembrandt's Master. Fritz 
 Thaulow (not in catalog) "On the River Arques," a very fine, attractive 
 picture by Thaulow. No. 164, Leq Herman, "The Good Story," a very 
 striking and much advertised picture. No. 162, Geo. Harlow, "Play- 
 mates," a very beautiful painting by this notable artist. Hubert Robert 
 (not in catalog) "Memories of Bygone Years," one of this highly appreci- 
 ated artist's finest pictures. Nos. 213 and 214, both by Prof. H. Lossow, 
 quite fine, attractive pictures, very much advertised, but questionable in 
 this gallery. Schenck (not in catalog) "Lost on the Mountain," one of the 
 most striking characteristic pictures of this well-known artist. No. 28, 
 Cederstrom, "Monks Preparing Breakfast," a very good picture. No. 307, 
 Schreiber, "The Duet," another very nice picture. Nos. 272 and 273, David 
 Teniers — two winter night scenes — ^very nice paintings by Teniers. No. 
 178, Jean Baptiste Isabey, "Lucian Bonaparte," a very fine, historical por- 
 trait of Napoleon's Brother by Isabey. "Harbor of Rio de Janeiro" (not in 
 catalog) by a native artist, Berticpen. Quite a nice, attractive picture. 
 Angelica Kaufifman (not in catalog)" "Persian Mother and Children," a 
 very attractive picture by that artist. Jules Dupre (not in catalog) "The 
 Drinking Pool," one of Jules Dupre's finest pictures. J. B. Pyne, "The Port 
 of Plymouth" (not in catalog), a very characteristic painting by this artist, 
 who followed the general style of Turner. Picture needs some cleaning. 
 No. 142, Gericault, "An Old Friend," a very nicely finished picture by this 
 very noted painter, who produced but very few pictures. 
 
 22 
 
General Summary of Paintings, Porcelains, Jades, Ancient Art and 
 other Art Objects in the galleries at the Old Homestead of Mr. T. B. 
 Walker, corner of Hennepin Avenue and Eighth Street, and the Galleries 
 at the Public Library, corner Hennepin Avenue and Tenth Street, as well 
 as at the Walker and Seven Corners Branch Libraries. All of the art 
 objects enumerated herein were conveyed through deed of gift to the City 
 of Minneapolis by Mr. Walker in October, 1918, together with a large, com- 
 manding site on Lowry Hill for a Library, Art and Science Building, and 
 which when completed is to house in addition to the Library, these art col- 
 lections. 
 
 AT THE GALLERIES IN THE OLD HOMESTEAD OF 
 
 MR. T. B. WALKER, 
 
 Corner Hennepin Avenue and Eighth Street. 
 
 346 Fine Gallery Paintings. 
 103 Indian Portraits. 
 17 Commanders, who took part in the Indian Wars. 
 8 Scouts, Guides and Frontiersmen. 
 1 Landscape — Sitting Bull's Camp. 
 271 Ivory Miniatures of Noted Persons of America and Europe. 
 61S Pieces of Fine Old Chinese Pottery and Porcelain. 
 211 Pieces of Fine Old Persian Pottery. 
 45 Pieces of Fine Old Greek Pottery. 
 75 Pieces of Fine Old Japanese and Korean Ware. 
 36 Pieces of Fine Old Wedgewood Ware. 
 1 Fine Large Vienna Vase. 
 1 Fine Large Sevre Vase. 
 60 Greek Tanagra Figures of Sixth Century, B. C. 
 380 Pieces Ancient Syrian, Egyptian, Babylonian, Persian, Phoenician 
 
 and Roman Gem Glass. 
 278 Pieces of Chinese Ornamental Sculptured Jade. 
 16 Pots of Jade Flowers. 
 1 Massive Jade Mountain. 
 216 Ancient Roman, Egyptian, Phoenician and Syrian Necklaces. 
 132 Bronze Incense Burners, Statues, Idols, etc. 
 
 6 Pieces Marble Statuary. 
 161 Pieces Ancient Jewelry, Rings, Brooches, Pendants, Earrings, etc. 
 92 Pieces Carved Ivory. 
 402 Chinese Snuflf Bottles of Jade, Pearl, Quartz, Amber, Pottery, Glass, 
 
 etc. 
 44 Pieces Polished Amber. 
 
 lis Large Gem Stones, including Carnelian, Chalcedony, Coral, Acqua- 
 marine, Amethyst, Flor-Spar, Lapis-Lazuli, Red Indian, Baltic 
 Amber, Malachite, Rose Quartz, Agate, Topaz, Fine Chrystalized 
 Quartz, Rutile, Smoky Quartz and Smoky Topaz; many cut, some 
 uncut. 
 1,106 Cut and Uncut Gem Stones of all varieties. / 
 
 143 Egyptian Scarabs, Seals, etc. 
 
 23 
 
27 Pedestals. 
 
 12 Pieces Japanese Bronze and gold Metal Work. 
 
 And in Addition to the Above 
 4 Trays of Unstrung Ancient Egyptian, Roman and Syrian Beads. 
 
 67 Plate Glass Show Cases. 
 
 4,992 Total at the Old Homestead Galleries. 
 
 AT THE GALLERIES IN THE PUBLIC LIBRARY, 
 Corner Hennepin Avenue and Tenth Street. 
 
 81 Fine Gallery Paintings. • 
 
 49 Pieces Old Japanese Pottery. 
 
 25 Pieces Old Palmyrian Bas-relief Tablets, etc. 
 
 92 Pieces Old Persian, Holland, Babylonian and Egyptian Ware. 
 107 Pieces Old Babylonian Tablets. 
 325 Egyptian Ushebtiu and Scarab Moulds. 
 
 54 Japanese, Spanish, Arabian and Old English Guns and Pistols. 
 146 Japanese and Phillipine Swords and Knives. 
 
 44 Carved Walrus Tusks. 
 
 17 Carved Rhinoceros Horn Cups. 
 1 Bronze Statue of Baal. 
 
 43 Pieces Chinese and Japanese Bronze. 
 296 Pieces Syrian, Greek and Roman Glass. 
 
 23 Pieces Chinese, and Japanese Cloissonne and Damiscene. 
 1 Marble Bust of Washington Irving, with Pedestal. 
 
 65 Pieces Polished Stone Axes, Mortars, Pistols, Arrow Points, etc. 
 187 Pieces Roman and Greek Utensils, Hair Pins, etc. 
 
 47 Pieces Carved and Fossil Ivory. 
 
 53 Temple Idols of Jade, Bronze, Quartz, etc. 
 
 40 Greek Tanagra Figures. 
 
 10 Very fine Chinese Carvings. 
 
 A large and varied collection of Sea Shells. 
 
 13 Animals, Animal Heads, Groups of Birds, etc. 
 470 Fine Mineral Specimens. 
 
 534 Sea Shells. 
 
 And in Addition 
 356 Trays of Sea Shells. 
 
 28 Show Cases 
 
 1 Folding Photograph Display. 
 
 68 Trays of Ancient Gold, Silver, Copper and Bronze Coins. 
 1 Tray Filled with Glass Mosaics. 
 
 8 Paintings at Walker Library. 
 
 7 Paintings at Seven Corners Library. 
 
 3,192 Total at the Galleries in the Public Library. 
 
 Making a grand total of 8,184 pieces in both of the above mentioned 
 Galleries. 
 
 24 
 
LETTERS AND TESTIMQNIALS EXPRESSIVE 
 OF VIEWS OF THE VARIOUS ART COL- 
 LECTIONS OF THE WALKER 
 GALLERIES. 
 
 The following testimonials have been taken from an endless expression 
 of appreciation of the Walker Galleries, in letters and statements, from 
 men and women in many walks of life. Those quoted below were selected 
 because their authors seemed particularly qualified to judge as to real art 
 values: 
 
 THE ROYAL ONTARIO MUSEUM OF ARCHAEOLOGY 
 Toronto, Canada. 
 
 Toronto, April 4, 1918. 
 Archie D. Walker, Esq., 807 Hennepin Avenue, Minneapolis, Minnesota. 
 
 Dear Mr. Walker: I wonder if it would be asking too much to request 
 that you would forward to your father, my thanks for the day of great 
 pleasure that he gave me in allowing me to visit his marvelous collection. 
 I had been prepared for something very, very fine, but I must say that even 
 this preparation did not prevent my being carried completely off my feet 
 by what I saw. This was not by any means the question of quantity only, 
 though I must say the size of the collection rather staggered me, but in 
 those departments where I could judge, the quality and rarity were matters 
 of tremendous surprise. 
 
 One thing that particularly pleased me was the sense of individuality. 
 It was no dealer's collection, pushed on a rich client, but chosen by a man 
 who evidently knew what he wanted and was quite willing to wait until he 
 could get it. If I might be allowed to say so, I feel that the whole country 
 is deeply indebted to your father for bringing together, and doubtless in 
 many cases bringing to America, what will always be a marvelous collec- 
 tion, which will itself make an important artistic center. 
 
 Yours very truly, 
 
 (Signed) C. T. CURRELLY. 
 
 Director, R. O. M. A. 
 
 151 Bowdoin Street, Springfield, Mass., 
 Oct. 19, 1914. 
 Dear Mr. Walker: Such masterpieces of so many of the great artists 
 of all times. Turner and Constable in array that not even the National 
 Gallery can outrival. Claude Lorraines that carry me back to Colonna 
 Palace. Murillos that suggest Vienna and the Prado. The most perfect 
 sample of Aelbert Cuyp's work; a wealth of Corot, and Daubigney; of Cazin 
 whose pictures are so much sought by connoisseurs, and that wonderful 
 coloring of Montalant, which suggests Rottman's best at the New Pinako- 
 teck combined with Calami's marvelous Paesturn at Leipsic. One may be 
 
 25 
 
familiar with all the national galleries of the world, and personally ac- 
 quainted with most of the private collections, yet his art education is woe- 
 fully incomplete until he has not only enjoyed but studied the superb 
 variety of paintings, and of gems of all periods, that comprise your unique 
 collection. In bringing together these varied examples of the best art of 
 ancient and modern periods for the free use of the people, you are building 
 that which endures, that which inspires mind, eye and hand to noblest 
 endeavor, and girds the spirit to glorious achievement. As one of your 
 fellow countrymen, let me thank you most appreciably for your noble con- 
 tribution to American civilization. 
 
 Sincerely, 
 
 (Signed) HERBERT MYRICK. 
 
 EMMANUEL CHURCH 
 169 Drummond St., 
 Montreal. 
 Minister, 
 George Adam. 
 
 Montreal, February 27, 1918. 
 Dear Mr. Walker: My visit to your father's picture gallery was one of 
 the greatest pleasures I have had since I came to this side. The contribu- 
 tion that he has made, by his collection, to the artistic and spiritual life of 
 your great republic is incalculable. In these materialistic days of money 
 making and warfare, it is certain that he cannot come into his own, but be 
 assured the time is coming when young America will rise up and call him 
 blessed. It will be a great privilege for me at some future day to meet your 
 father. The little booklet you gave me with the pictures of the Indians, I 
 have unfortunately mislaid either in the hotel or on the train. Could you 
 possibly favor me with another copy. With kind regards to your good land 
 and yourself, believe me. 
 
 Very sincerely yours, 
 
 (Signed) GEORGE ADAM. 
 
 THE GOVERNMENT OF THE PHILIPPINE ISLANDS 
 
 University of the Philippines 
 
 COLLEGE OF AGRICULTURE 
 
 Los Banos. 
 
 Los Banos, May 17, 1918. 
 Mr. T. B. Walker, 803 Hennepin Ave., Minneapolis, Minn., U. S. A. 
 
 Dear Mr. Walker: Strolling along Hennepin Avenue one bright day 
 last September, jostled, but instructed and amused by the busy throng that 
 flows continuously through that busy part of a busy thoroughfare, my 
 attention was attracted by an inconspicuous sign at the portals of an unas- 
 suming, antique, brown building, residential in character, and set down in a 
 small park in the midst of commercial sky-scrapers. The sign simply said 
 "Open to the Public on Week Days from 9 Till 5" or other words to that 
 effect. I ventured to ring the bell and was admitted by a demure young 
 woman whom I afterwards discovered to be an artist herself. 
 
 26 
 
If enchantment be a function of modern existence, then, indeed, I was 
 under the magician's wand, for never before have I experienced the intel- 
 lectual uplift or the spiritual exhilaration which were mine to enjoy then 
 and for several successive days thereafter. 
 
 To speak of the art collection itself, to comment on its completeness, 
 its variety, its unity, its historical as well as its aesthetic value, were quite 
 impossible and yet certain features stand out pre-eminent in my mind. 
 
 From Raphael, Durer, Van DycE and Murillo, Tintoretto, Rembrandt, 
 and Tiepolo, down through Romney, Raeburn, Opie and Turner, to Land- 
 seer, Inness, Schreyer, Corot, Greuze, Dupre, Diaz de la Pena and Breton, 
 the whole gamut of man's endeavor with canvas and the brush is repre- 
 sented in all the tones and half-tones and quarter-tones of human emotion. 
 
 Your great Turners are worth a month's study for they grow upon one 
 in their grandeur; your Corots show his every mood, as well as his sure 
 progress from the material representation to the ethereal suggestion, while 
 your Rembrandts are as good examples of this master's skill as I have seen 
 in any gallery, American or European. 
 
 Then what shall I say of Lerolle's "The Resting Place," Lorraine's 
 "Classic Harbor Scene," Lefebvre's "The Jewel Bearer,'' Jacque's "A Hot 
 Afternoon," Verboekhoven and Roffian's "Loch Lomond," Cuyp's "Shep- 
 herds in the Valley of the Maas," Constable's "Lock on the River Stour," 
 Cederstrom's "Monks Preparing Breakfast," Bouguereau's "April Showers," 
 Breton's "The Last Day" or Crochepierre's "Peasant Woman at Prayer" 
 and "Grandmother Rocking the Cradle." They should not be spoken of, 
 they should be seen, for then they will never be forgotten. They will 
 always stand out in my memory of beautiful paintings. 
 
 I have already spoken to you of my appreciation of your generous and 
 unique display of religious pictures in the Hennepin Avenue Methodist 
 Episcopal Church and at the Public Library of your beautiful city, and it 
 only remains for me, a sojourner in a distant land, among a people, the 
 Filipinos, whose soul is imbued with a love of art and music, to thank you. 
 for having made it possible for me to bring to them a breath of fragrance 
 distilled from the Walker Gallery. 
 
 Yours very sincerely, 
 
 (Signed) CHARLES S. BANKS, 
 Acting Dean and Associate Professor of Entomology, 
 
 College of Agriculture. 
 
 THE SCHOOL ARTS PUBLISHING COMPANY 
 
 The School Arts Magazine 
 
 120 Boylston St., Boston, Mass. 
 
 Boston, May 3, 1916. 
 Hon. T. B. Walker, Minneapolis, Minn. 
 
 My Dear Mr. Walker: I have been away from home lecturing almost 
 all the time since I was in Minneapolis. This accounts in part for the delay 
 in availing myself of your kind permission to send you a typewritten form 
 of my plan for the Walker Museum of Minneapolis. 
 
 If you were to build a museum of this type no one could accuse you of 
 attempting to rival the museum already established. You would be taking 
 an advance step in art education by founding a museum of an entirely new 
 
 27 
 
type; — a type destined one of these days to be established everywhere. I 
 believe it is in your power to create an immortal precedent. 
 
 The museum would subordinate all the other museums of the world to 
 itself. It would be an index to them all. The whole would constitute an 
 epoch-making institution, and lead the way to more effective education of 
 the American people. 
 
 With all good wishes for your health and happiness, 
 Yours sincerely, 
 
 (Signed) HENRY TURNER BAILEY. 
 
 Translation. 
 Wissant, Pas de Calais, 29th March, 1912. 
 
 Dear Mr. Walker: We have heard, my husband and myself, with great 
 pleasure, that my father's superb painting, the "Last Ray," had just entered 
 into your collection. This picture was among those which my father used 
 to mention as one of his best; it had, besides, a very great success at the 
 Salon, and it is certainly one of my father's works in which he has allied, 
 in the happiest manner, human feeling and family love, with the general 
 impressioa of nature which envelopes peasants' life. It is impossible to 
 imagine a gentler scene, a calmer hour, a purer and more poetical joy. All 
 the stages of life are represented there. The emotion of the old couple, 
 the strong and healthy happiness of the young couple, and the joyful rush 
 of the child towards them in the last rays of the sunset! All that is ren- 
 dered with the charms and expressive intensity which make the everlasting 
 masterpieces. 
 
 And now, dear Mr. Walker, let me tell you what a pleaasnt remem- 
 brance we have of your visit to Montgeron in 1889, at the time when you 
 purchased my own picture of that year's Salon, "The Man Is Out at Sea." 
 It was my second daughter, Adrienne (she was then one year old), who 
 was my model for the baby in that picture; she has been married now four 
 years, she has two beautiful children and is a painter. She got an "Honor- 
 able Mention'' last year at the Salon. 
 
 Time glides away,' children grow up, and happy remembrances are 
 mingled with the dreams of the future. 
 
 Please accept, dear sir, for yourself and your family, our most affec- 
 tionate feelings. 
 
 (Signed) VIRGINIE DEMONT BRETON. 
 
 Columbia University, New York City, N. Y., June IS, 1915. 
 Mr. Thomas B. Walker, 
 
 Minneapolis, Minnesota. 
 My Dear Sir: Once in a while in their travels, the lecturers of the 
 French Alliance have some agreeable surprises, but the surprise that awaited 
 me in Minneapolis certainly was beyond description. To have the privilege 
 of talking among the wonderful objects of art, which you have gathered, 
 seemed to me, after my long and tiresome trip, a most beautiful reward. 
 * * * * As a Frenchman I had the joy of standing where I could 
 
 28 
 
see some landscapes which reminded me of my beautiful country, and while 
 I grieved to know that these paintings had left France, I was happy to see 
 them among such beautiful surroundings. To you, I owe the pleasure of 
 having seen the most beautiful and harmonious collection of paintings and 
 objects of art in the world. I have visited all the public and private galleries, 
 not only in this country, but in Europe, but in none have I found the har- 
 mony that exists in yours. I wish I could have spent days studying and 
 admiring your beautiful collection. 
 
 Thank you for the treat you gave me and I can assure you that the 
 memory of it will stay with me forever. 
 
 A. DE LAPRADELLE, 
 Special Envoy of the French Government to the San Francisco Exposition. 
 
 DR. FREDERICK PETERSON 
 
 No. 20 W. 50th St., N. Y. 
 
 (One of the most prominent and successful Physicians in New York City.) 
 
 October 1st, 1916. 
 Mr. T. B. Walker, Minneapolis, Minn. 
 
 Dear Sir: On .my recent trip to Minneapolis, I spent several hours in 
 your magnificent art collection. I was very greatly surprised to find such 
 a collection. 
 
 I have taken great interest in art and have been acquainted with the 
 public and many of the private collections of Europe and America and 
 have visited China and hunted over the remaining art that is to be found 
 in that country. I look upon your collection as one of the finest and most 
 satisfactory collections that I have ever seen. 
 Sincerely yours, 
 (Signed) FREDERICK PETERSON, M. D. 
 
 THE ART INSTITUTE OF CHICAGO. 
 Chicago. 
 
 Chicago, February 1, 1898. 
 T. B. Walker, Esq., Hennepin Avenue, Minneapolis. 
 
 Dear Sir: A vote of thanks to you was unanimously passed for the 
 loan of your valuable pictures for the recent exhibition of Selected Works 
 of Modern and Ancient Masters, one of the choicest collections ever exhib- 
 ited in Chicago. It is by such acts of friendliness that the Art Institute is 
 enabled to perform the work which it has undertaken to do, and especial 
 thanks arc due to our friends of other cities who made contributions. 
 
 Yours very truly, 
 
 (Signed) N. H. CARPENTER, 
 
 Secretary. 
 
 Translation, in part, of remarks of Prof. Bellesart (official lecturer of 
 the Federation of the French Alliance of the U. S.) at the University of 
 Minnesota, preceding his lecture February 19, 1914: 
 
 "Since my arrival in Minneapolis, Mr. Andrist, professor of languages 
 
 29 
 
at the University of Minnesota, invited and accompanied me on a visit to 
 the Thomas B. Walker Art Galleries. I am always a little skeptical about 
 private galleries, of which I have seen so many. I have traveled nearly all 
 over the world, and have seen most of the public and private galleries of 
 the world, but must confess that I was amazed at the wonderful treasures I 
 saw in Mr. Walker's galleries — paintings by all the old and modern mas- 
 ters, priceless old vases, a truly wonderful collection of jades, and objects 
 of art of all kinds, and a collection of Indian portraits that is striking and 
 wonderful and will be an education for future generations. In Paris, of 
 course, we have the Louvre, and while there are untold treasures there, 
 one may pass through room after room scarcely looking at a picture, as so 
 many of them are not attractive and do not interest, while in the Walker 
 gallery each picture is a gem and holds one's attention." 
 
 From New York Sun, April 12, 1912. 
 
 NOTABLE COLLECTION OF THOMAS B. WALKER OF 
 MINNEAPOLIS 
 
 How comparatively unknown are the art treasures in the private collec- 
 tions of this vast land, may be realized from the experience of two well 
 known connoisseurs — John H. McFadden and Albert Hetherington of the 
 ^'•-■'--■-'nhia Art Club, who happened to find themselves in Minneapolis, 
 Minnesota, a few days ago. Among the sights of the city is the art gallery 
 of Thomas B. Walker, a man of great wealth, and one who believes in 
 pictures. To the amazement of the two Philadelphians, instead of the usual 
 local gallery filled with copies or indifferent specimens bearing great names, 
 they found a gallery literally crammed with distinguished pictures and fine 
 old Chinese porcelains. The catalogue of the paintings numbers over 300. 
 Truly an amazing gathering, one that reflects high, and varied artistic tastes. 
 Yet how many know the Walker gallery? 
 
 SEVENTEEN DEAN'S YARD, 
 Westminster Abbey, S. W. 
 
 Westminster Abbey, S. W., Oct. 27, 1912. 
 
 My Dear Mr. Clarke: Among the many pleasant recollections of our 
 visit to Minneapolis, none is more pleasant than that of our time in Mr. 
 Walker's splendid collection of pictures. To begin with, the collectFon came 
 as a complete surprise. I had not associated Minneapolis with a gallery 
 of masterpieces which would be notable in any city of Europe. Then there 
 were so many pictures it is always a joy and a privilege to see — ^Turners, 
 Constable's, Romney's, all our English masters, to say nothing of older and 
 greater masters. 
 
 I will not deny that an element of melancholy entered my mind as I 
 read the labels, which told the story of the pictures, and too often related 
 to their flight from England to the far West. * * * But my melan- 
 choly was relieved by two considerations. If the masterpieces of art must 
 leave my own country, where could I wish them to go to save that great 
 
 3(1 
 
kindred nation, which has the same mother tongue, the same faith, and 
 the same notions of justice and fair dealing? Again, if the art treasures of 
 the world are to be owned by individuals, could I desire that they should 
 be owned by any other than by those who, like the owner of this princely 
 collection, have the generosity and public spirit to make them accessible 
 to their neighbors? 
 
 I shall be obliged if you will express to Mr. Walker our gratitude for 
 the delight which he gave us through his pictures, and to his son for the 
 courtesy with which he showed them to us. Believe me. 
 
 Most sincerely yours, 
 
 (Signed) H. HENSLEY HENSON, 
 Sub-Dean of Westminster Abbey; 
 Sometime Fellow of All Souls College, Oxford. 
 
 Dr. J. S. Mabie of Los Angeles, Cal., returning from an extended 
 sojourn in Europe, Asia and America (October, 1913), came to Minneapolis, 
 as he declared, "for the express purpose of visiting and inspecting the 
 Thomas B. Walker art collection." After a careful survey of the galleries, 
 Dr. Mabie said: 
 
 "I have become quite well acquainted with the finest and most impor- 
 tant art galleries of the Orient, of Europe and of America. I can say, after 
 a careful examination of this collection, that, taking it altogether in its 
 various departments of art — the paintings, ceramics, jades, ancient glass, 
 etc. — that I consider it the finest and most attractive of all the collections 
 that I have ever seen." 
 
 Wm. E. Curtis, the noted newspaper correspondent, art writer and 
 critic, after visiting the Gallery on September 4, 1911, wrote an extended 
 article for various eastern papers under the caption: 
 
 THE WALKER GALLERY AT MINNEAPOLIS ONE OF THE 
 GREATEST ART COLLECTIONS IN THE WORLD. 
 
 From which article the following extracts are made: 
 
 "Mr. T. B. Walker, a prominent citizen of the Northwest, has a large 
 gallery attached to his residence, 803 Hennepin Ave., Minneapolis. In that 
 350 or more examples of mediaeval and modern painters have .been hanging 
 for some years in association with one of the largest and most valuable col- 
 lections of porcelains, glass, jade, jewels and examples of carving and the 
 goldsmith's art. 
 
 "Mr. Walker is public-spirited and generous in sharing the enjoyment 
 of these possessions with the public. Anyone, citizen or stranger, is at lib- 
 erty to call at his residence any weel^ay, morning and afternoon, and 
 inspect the gallery at leisure, and thus %r this year 65,000 persons have 
 taken advantage of the privilege. The rooiks are so crowded, and you have 
 to squeeze between tall cases of matchless c^w-ios, as rare and as valuable as 
 can be found in the Metropolitan Museum ar New York, or at the Kensing- 
 ton in London. It is one of the great private^llections of the world, and 
 has been assembled by Mr. Walker, personal!^ during the last forty-five 
 years. * * * The collection of porcelains ana|curios, from the near and 
 
 31 
 
far East is so large and splendid that it cannot be adequately described in a 
 newspaper article. 
 
 "In the name of myself, and the public, I thank him who daily gives to 
 
 the world such a wonderful and uplifting opportunity. This I wish because 
 
 I sincerely feel it." 
 
 CORA R. GIBSON, 
 
 Art Writer, St. Louis, Mo. 
 
 SIR WILLIAM VAN HORNE, 
 Montreal, Canada. 
 
 Montreal, Canada, Dec. 2, 1912. 
 Mr. Thomas B. Walker, Minneapolis: 
 
 Dear Mr. Walker: This is the first opportunity I have had for writing 
 since I had the pleasure of seeing you and your extraordinary art collec- 
 tion in Minneapolis. Indeed I am not even yet able to collect and arrange 
 my thoughts of all I saw there. My five hours were much too short for 
 such a mass of things. One might as well try to see the National Gallery 
 and the British Museum in the same time. I came away with my mind in a 
 blur of beautiful pictures, ceramics, bronzes and rugs. Somehow, those 
 cabinets of Han, Sung, and Ming pieces persist more than anything else 
 perhaps because of its being altogether and more comprehensible." 
 
 Most sincerely, 
 
 (Signed) W. C. VAN HORNE. 
 P. S. Mr. Eilers was almost speechless when he came away. 
 
 E. I. VAN WESSELINGH & CO., 
 
 Kunsthandel. 
 
 K. Kroesbeck 78-80 Rokin 
 
 P. C. Eilers, Jr. Amsterdam. 
 
 Windsor Hotel, Montreal, Nov. 25, 1912. 
 Thomas B. Walker, Esq. 
 
 Dear Sir: The special trip I made to Minneapolis to see your collec- 
 tion, of which I have already been told so much, even in my small country 
 gave me much enjoyment. I expected to see some beautiful pictures, but 
 what I saw went far beyond my expectations. 
 
 Notwithstanding I remained more than half a day, I saw not enough 
 of it, and at the same time too much at once to say I am fully acquianted 
 with your collection; therefore I hope you will allow me another call, when 
 I have the pleasure of visiting your country again. 
 
 Some of your pictures will not leave my mind: The Turners, for 
 instance. I never saw a collection of Turners so important as yours. "The 
 Ancient City" can beat, to my opinion, the best Turner in the world. 
 
 Of your Rembrandt's, your last acquisition from the Weber collection, 
 was a revelation to me. The Ferdinand Bol Madam Stercke is still traveling 
 
with me. I do not remember a better example of that master. The Albert 
 Cuyp and Benjamin Cuyp; Govaert Flinck, "The Tambourine Player." The 
 Constables, Gainsboroughs, especially the "Gentlemen in Blue," that beauti- 
 ful man's portrait by Raeburn, beating the best impressionist, that lady's 
 portrait by Romney, Napoleon by Isabay; the Troyons, well no use to men- 
 tion all these names, I had a great day, and am much obliged to you. Then 
 that important collection of Persian and Chinese pottery in its kind, as 
 highly artistic as the best part of your picture gallery. I remain, dear sir, 
 
 Yours gratefully, 
 
 R C. EILERS, JR., 
 Of Van Wesselingh & Co., of Amsterdam. 
 
 EDMUND J. PHELPS, 
 MINNEAPOLIS. 
 My dear Mr. Walker: 
 
 I am writing this to tell you how I, as a citizen of Minneapolis, appre- 
 ciate your efforts to afford the public an opportunity to become familiar 
 with many of the great art treasures of the world. 
 
 Your extensive gallery is not only open for the asking, but without 
 question to all comers. It has been my pleasure during many years, fre- 
 quently to visit it, often taking with me, friends from other cities. 
 
 Some of them have been artists and others, those who have visited many 
 galleries of distinction. All, without exception, have expressed great sur- 
 prise at the extent of your gallery and still greater at the many examples 
 of the celebrated masters, both living and dead, who are represented 
 there. 
 
 I have noted the continuous improvement until today I know of no 
 other private gallery to which the public has access, that compares with it, 
 either in extent, or in the number of masterpieces contained therein. 
 
 You have many paintings any one of which would make a collection 
 notable. A gallery with the names of Rembrandt, Van Dyck, Hals, Breton, 
 Troyon, Dupre, Van Marcke, Andrea Del Sarto, Corot, Claude Lor- 
 raine, Jacques, Bouguereau, Schreyer, Inness, Turner, and scores of others 
 of almost equal fame, is truly a great one. 
 
 Your large and most interesting collection of portraits of famous roy- 
 alty, military masters and statesmen, including Henry the Eighth, Napo- 
 leon, Washington, Lincoln, Gfant, Webster and many others, is alone a 
 great attraction. 
 
 Your collection of portraits of famous women of the sixteenth and 
 seventeenth centuries, painted by the masters of that period, is/well worth a 
 visit, were nothing else to be found there. * * * i 
 
 In addition to the great number of paintings, your many cases of curioftr 
 including Egyptian ornaments, glass vases, some of which are as old af tfte 
 Pyramids, might be studied for days with advantage. Your beautiful and 
 wonderful collection of Jade, is beyond anything of which I hav< knowl- 
 edge. 
 
 I congratulate you upon all these possessions and also the city that 
 contains them. 
 
 Very sincerely yours, 
 
 (Signed) EDMUND J. PHELPS. 
 
 33 
 
 \ 
 
Mr L. C. Anderson, Commissioner, Panama-Pacific International Ex- 
 position, San Francisco, 1915, after visiting the Galleries, said: 
 
 "This is one of the most marvelous collections of art in the world. 
 As a large selected collection of the finest art, paintings, porcelains, jades 
 and ancient art, it is perhaps unrivaled and never could be duplicated. 
 
 Prof. S. A. Barrett, Curator of Anthropology, Public Museum of Mil- 
 \vaukee, Wisconsin, expressed his appreciation as follows: 
 
 "There is no art collection of which I know in this country that can 
 be compared with this collection, except to a certain extenc the Metropolitan 
 Museum, which is larger, but is not, taken altogether, nearly so fine and 
 attractive as this one that I find here." 
 
 August, 1914. 
 
 Mr. Dimmen den Bleyku, Art Publisher, New York and San Francisco, 
 after inspecting the Galleries said: 
 
 " * * * I am quite well acquainted with the art galleries of Europe 
 and America, and I can say that I regard this as one of the finest collections 
 of genuine, ancient and modern art that, taken altogether, is the finest that 
 I have ever seen." 
 
 Edwin B. Child, a noted artist of New York City, best remembered to 
 the Northwest through his assistance to Mr. John La Farge in decorating 
 the New Minnesota State Capitol building at St. Paul, after visiting the 
 galleries as the guest of Mr. L. S. Donaldson, remarked to an interviewer: 
 
 "It is a most wonderful collection of beautiful things, selected with 
 marvelous patience and discrimination. There were groups of objects d'art, 
 any one item of which would be considered ordinarily, of inestimable value. 
 And yet here, they are assembled with absolute prodigality. The marvel- 
 ously wide range of search indicated in those enchanting galleries, impresses 
 one forcibly, and my great regret was the inexorable limit of time that 
 prevented my giving myself up to a long and close -study of this golconda 
 that opens its magic doors so hospitably to the people of Minneapolis and 
 to the strangers within their gates." 
 
 THE ARTS CLUB OF PHILADELPHIA. 
 
 April 26, 1912. 
 "Th»,mas B. Walker, Esq., Minneapolis, Minn. 
 
 "Diar Sir: I enclose' an article in 'The Sun' written by James Hunicker, 
 probabl/ the best Art Critic in America. From it you will see that Mr. 
 McFad<en, president of this club, and I saw your wonderful collection a 
 few weeks ago. You were away from home or we would have tried to 
 see you 
 
 "I* is a wonderful gathering of great works by the great men who have 
 
 34 
 
made art live. Have you an illustrated catalogue? If so, we would be 
 highly honored if you should give us one for our library. * * * 
 
 "Again congratulating you on your treasures, not only of paintings, but 
 also of porcelains, jades and rock crystals, I am. 
 Yours very truly, 
 
 (Signed) A. G. HETHERINGTON, 
 "Chairman, Committee Purchase of Art." 
 
 EXTRACT FROM PROF. HARSHE'S LETTER. 
 
 Professor Harshe of the Art Department of the Leland Stanford Uni- 
 versity of California, now director of Carnegie Institute, and as representa- 
 tive of the Art Department of the Panama-Pacific International Exposition 
 at San Francisco, in a letter dated June 17, 1914, says: 
 
 "A month's time is all too short in which to study your collection of 
 masterpieces. It was a matter of the keenest disappointment to me that an 
 engagement at the Missouri "U" commencement compelled me to cut short 
 a visit where every moment was filled with wonder and delight. I cannot 
 understand how one man could have made a collection of such excellence 
 and such uniform importance." 
 
 Mr. Wilfred M. d'Voynich, the well known art student and critic of 
 Paris and London, after a careful view and review of the galleries, spoke 
 especially, of the Cazins', Turners', Lorraines', Constables', Harpignies', 
 Corots', Ziems', Romneys', Reynolds', several of the Rembrandts', Gains- 
 borough's "Gentleman in Blue," Goya's, "Spanish Lady," Hobbeina's "Scene 
 in Guelderland" and various others, as the finest that he had ever seen, end- 
 ing up by saying: 
 
 "I am quite as well acquainted with the art and art galleries of Europe as 
 any other person. I have made a careful study of European art, and have 
 also visited and studied the art galleries of this country, and I consider this 
 the finest and most magnificent collection in this country, and one that 
 compares favorably with anything in Europe." 
 
 Extracts from letter from Mr. A. M. Todd who is and has been for a 
 number of years collecting a gallery of paintings: 
 
 Kalamazoo, Michigan, Jan. 4, 1916. 
 Mr. Thomas B. Walker, Minneapolis, Minnesota. 
 
 I have many times visited practically all of the great galleries of Europe, 
 as well as of America, and wish to say that I consider your collection one 
 of the most interesting and beautiful which I have ever seen, comprising 
 as it does such a wide range of subjects, and I congratulate the people of 
 Minneapolis in having such an extremely valuable collection, which has 
 been so generously opened to them by you. 
 
 Very sincerely yours, 
 
 A. M. TODD. 
 
 35 
 
From the Evening Tribune, October 29, 1912: 
 
 "CANADIAN PRAISES GALLERY. 
 "Walker Collection Called Best in Country py Toronto Baronet. 
 Characterizing the T. B. Walker Art Collection as the finest private 
 collection he had ever seen, Sir Edmund Walker, president of the Canadian 
 Bank of Commerce of Toronto, who was in Minneapolis yesterday, express- 
 es himself as charmed with Minneapolis and the treasures that are on view 
 at Mr. Walker's Gallery. Sir Edmund is not a relative of Mr. Walker, but 
 he says he has seen every private collection of art on both sides of the" 
 water, that is worth seeing, and that the Minneapolis collection excels 
 them all." 
 
 Mr. J. B. Eaton, of Burton House, Montgomery Road, Sheffield, Eng- 
 land, after visiting the galleries in company with his traveling companion, 
 Rev. Geo. H. McNeal, Sheffield, Wesleyan Mission, 25 Montgomery Road, 
 says, in part: 
 
 "We have been for a long time looking over the art, and other interest- 
 ing things in Europe and America. We began by first traveling over Eng- 
 land, particularly examining the art galleries, public and private. We then 
 went to the continent, visiting the principal nations there, and then came to 
 America. We have visited the different towns and cities from New York 
 and Boston to the Pacific Coast, and from Los Angeles and Seattle back 
 here, and have stopped here expressly to see this collection. I wish to 
 say to you that we would rather have missed anything we have seen in all 
 our travels, without exception, than to have missed this most magnificent 
 collection of art. We look upon it as emphatically the finest collection we 
 have seen in our travels. The collection of porcelains, jades, miniatures, and 
 rugs all correspond, and combine in making this the most uniformly magnifi- 
 cent collection." 
 
 Mason City High School Mason City, Iowa, Nov. IS, 1911. 
 Mr. T. B. Walker: 
 
 Dear Sir: . . . . I was almost incredulous on my first visit 
 to your gallery — hushed into reverence by the beauty and subdued luxury 
 all about me. I never was in a place before where there was such absolute 
 lack of the discordant, and where taste had been the supreme arbiter of all 
 about. To be admitted there was a high privilege, and to meet and con- 
 verse with the man who had been the collector artist, was an added privi- 
 lege much appreciated. .... Yours gratefully, 
 
 J. CLYDE MURLEY, 
 Latin and Roman History. 
 
 Miss Marion Jane Terry, No. 12 Remsen St., Brooklyn, N. Y., upon a 
 recent visit to the Galleries, gave her impressions as follows: 
 
 "I studied art as an accomplishment for a term of years under the lead- 
 ing artists and teachers of France. In connection with this, I studied the 
 
 55 
 
art of the masters, and became quite well acquainted with the art collec- 
 tions of Europe, and afterwards of this country. In coming into these 
 galleries I am much more than surprised to find the finest and most attrac- 
 tive collection of art, of genuine old masters, and modern examples that 
 I know of in any collection that I have ever seen, either public or private. 
 Of course there are several, even many, greater collections in point of num- 
 bers, where many of the important examples of art are to be found, but 
 no collection so far as I know is of such uniform attractiveness and magnif- 
 icence as this collection, to the extent of fine examples of paintings, por- 
 celain jades, ancient glass, ancient ornaments and historical miniatures." 
 
 BRITISH VICE-CONSULATE, 
 Omaha, U. S. A. 
 Matthew H. Hall, Vice-Consul. 
 T. B. Walker, Minneapolis, Minn., 
 
 Dear Sir: One of the most pleasurable days of my life was spent in 
 your city last. week, and all because of your courtesy in opening the door of 
 your superb art gallery to the public. Truly I was amazed and delighted 
 beyond description to view your collection of pictures, which is a remark- 
 able one, and as valuable as it is remarkable. No need for Americans to go 
 abroad to see masterpieces of the great — only journey to your city. 
 
 Yours very sincerely, 
 
 (Signed) M. H. HALL. 
 
 Mr. N. E. McBride, Annex Hotel, Chicago, 111., says: 
 
 "I have seen many of the finest art collections in Europe and America, 
 and I consider this the finest collection that I have ever seen. It is much 
 larger and finer than the Wallace collection and more magnificent than the 
 National Gallery or the Tait Gallery. The Turners in this collection are 
 finer than in any collection I have seen, as are also the Rembrandt's and 
 Van Dyck's. Every picture in this Gallery seems to be of the highest grade 
 of art without any common place pictures to be found in it. 
 
 Minneapolis, Minn., February Sth, '16. 
 Clinton Hotel, 4th Ave., and Grant St. 
 Mr. T. B. Walker, 
 
 Hennepin Ave. and Sth St., 
 Minneapolis, Minn., 
 Dear Sir: — 
 
 I had the pleasure of spending a few hours today in your exquisite Art 
 Gallery and although I have spent much of my time in a good many of the 
 best known museums and picture galleries in Germany, Holland, Belgium, 
 England and New York, I have not enjoyed one of them as much as I did 
 yours. 
 
 The British Museum, Kensington Museum, Albert-Victoria Museum 
 and the Wallace collection are certainly magnificent but your collection of 
 
 37 
 
pictures, china, precious stones, etc., were more appreciated by me than 
 those on account of the excellent individual taste that each and every one 
 of your exhibits shows. 
 
 Yours very respectfully, 
 
 (Signed) M. KOESTER. 
 
 WILLIAM B. BULL, 
 Quincy, III. 
 
 Mr. Bull is a prominent citizen of Quincy, 111., and quite well acquainted 
 with the Art Galleries of Europe and America. 
 
 Sept. 28th, 1918. 
 Thomas B. Walker, Esq., Minneapolis, Minn. 
 
 My Dear Sir: To say how I was impressed by what I saw at your gal- 
 lery on this and a recent previous visit is not so easy. 
 
 Obviously, one's first strong feeling in the presence of your paintings and 
 objects of art must be surprise. Surprise, that there is in existence in this 
 country, in private hands, such numerous, choice, authenticated and well 
 chosen examples of so many schools of painting and of famous masters. 
 In addition there are your collections of jade, ancient glass and jewels, 
 royal Chinese porcelains, etc., which are superb and priceless. Had any one 
 told me that such collections were in existence in this country, outside of 
 New York City, I should have been incredulous. But conceding unlimited 
 means, liberality, and enthusiasm even, backed by a discriminating taste and 
 knowledge, it is still difficult to understand how you have been able to 
 assemble collections so choice and in many ways unique. I consider your 
 galleries chief of the attractions and the principal asset of Minneapolis. 
 
 Yours very sincerely, 
 
 (Signed) W. B. BUi-j^. 
 
 At a meeting of the directors of the Kitchi Gammi Club, Duluth, Minn., 
 held July 3rd, 1914, it was, on motion of Mr. T. F. Cole, seconded by Mr. 
 Edward Savage, 
 
 Resolved, That the Kitchi Gammi Club extend to Hon. T. B. Walker, 
 of Minneapolis, their thanks for his generosity in lending to this club four- 
 teen valuable oil paintings — an act thoroughly in keeping with the broad- 
 mindedness displayed with respect to his entire art collection. The value 
 of the loan to this club and to the community is thoroughly appreciated 
 and the action of the House Committee in deciding to open the collection 
 to the public at stated intervals is hereby approved. Further, 
 
 Resolved, That a copy of this resolution be forwarded to Mr. Walker. 
 
 F. W. PAINE, Secretary. 
 E. C. CONGDON, President. 
 
 38 
 
The following letter is from Mrs. Woodard, cousin to Hon. Jas. T. 
 McCleary, for many years representative in Congress from Mankato, Min- 
 nesota, and in earlier years superintendent of education, who established the 
 normal schools of Minnesota. 
 
 Watertown, Wisconsin, March 24th, 1914. 
 My Dear Cousin James: A young married friend of o'urs, whose home 
 is in Minneapolis, called early in the forenoon and insisted on my spend- 
 ing the day with her. I consented on the condition that she go over with 
 me to Walker Gallery. Just imagine, she has lived there for a couple of 
 years and had never been! My expectations were high, for I had read 
 Curtis' letter in the Record Herald some years ago and knew Mr. Walker 
 was the owner of some very valuable paintings; but I was utterly taken 
 back and amazed when I found a collection of paintings and precious bric- 
 a-brac more valuable and interesting than I had seen in the homes of 
 princes and nobility of Europe. The modern French, English and Dutch 
 schools were represented by their very greatest masters. I was simply 
 carried away, to find such a treasure house of art in the Middle West; it 
 is worth making the journey to Minneapolis especially to see. My hostess 
 felt we must be going, as it was past the luncheon hour. Mr. Walker was 
 in the gallery himself, and I introduced myself to him as your cousin. 
 While we were speaking he was called away. I promised, and earnestly 
 desired to return in the afternoon, but found it impossible to do so; but if 
 I live I will certainly see that gallery again. The truly princely generosity 
 of the man in allowing the general public to enjoy these great master- 
 pieces with him, must fill all who visit his home with a profound sense of 
 gratitude and appreciation. I wish I might have had an opportunity to 
 express mine to him. Let me know, if you can, where a catalogue could 
 be purchased. I would like to study it, so that my next visit might find 
 me better prepared. 
 
 Affectionately, 
 
 (Signed) MRS. WOODARD. 
 
 Spokane, Wash., June 15, 1915. 
 Mr. T. B. Walker, Minneapolis, Minn. 
 
 Dear Mr. Walker: It is the Great Northern engineer writing, after 
 returning to his engine. 
 
 I had a most delightful trip all the way to Chicago and back, but the 
 greater part of my enjoyment was due to the opportunity afforded me to 
 see your wonderful collection, and your kind courtesy in showing it to me. 
 
 One may read volumes about the old and modern masters and feel 
 fairly well acquainted with them, but to enter your galleries and meet them 
 face to face is truly the real thing. 
 
 I hope again some time to be allowed to see it all over, Mrs. W. with 
 me, and that hundreds of others who visit Minneapolis may have the same 
 treat that will linger in my memory for many days to come. 
 
 Yours truly, 
 
 MR. WHITMORE. 
 39 
 
Des Moines, Iowa, September 10, 1912. 
 "♦ * * I feel I must thank you for the great privilege your wonder- 
 ful generosity in throwing open to the public your extraordinary art 
 gallery affords to rich and poor alike, so they can all enjoy the master- 
 pieces. * * * 
 
 "To think that I have been able to look upon them, for you might say 
 the asking, and to have the privilege of meeting and talking with the man 
 who collected them, that is indeed a privilege I little expected. 
 
 "Thanking you again for your great kindness, and wishing you a long 
 and happy life to enjoy your wonderful treasures, I am, 
 
 "Gratefully yours, 
 
 (Signed) "Mrs. HANNA L. TAFF, 
 
 "A year or more ago, Mrs. John Nicholas Brown and Mrs. John Carter 
 Brown, who live in Newport, R. I., spent two days in company with Col. 
 Matteson, and on their arrival and my inquiry as to what they would like to 
 see in Minneapolis, they named the Walker Art Gallery. Later we went 
 there, and it seemed difficult to get them away. They said to me that its 
 size and importance amazed them and that they knew of no finer and more 
 extensive private collection. I was very glad to have this testimony from 
 them, because of my knowledge of the fact that they are persons of very 
 good judgment in matters of art and have had many opportunities for 
 observation." Yours very truly, 
 
 (Signed) H. L. MOORE, 
 Secretary and Treasurer Minnesota Loan & Trust Co. 
 
 THE AMERICAN BOARD 
 Boston 
 
 Minneapolis Club, March 28th, 1914. 
 Mr. T. B. Walker, 807 Hennepin Ave., City. 
 
 My Dear Mr. Walker: I met with one of the surprises of my life this 
 afternoon in your gallery. I have seen a good many collections and larger; 
 but for careful selection and harmony, giving the emphasis to quality 
 rather than quantity, I am sure that yours is the most exquisite that I 
 have ever seen. Yours sincerely, 
 
 C. TELFORD ERICKSON. 
 
 Mr. Matthew A. Hall, of Montgomery, Hall & Young, Attorneys and 
 Counsellors at Law, Omaha, Nebraska, said: 
 
 I am an attorney at law, practicing in the courts of Omaha. I am not 
 a qualified art critic, but have seen the greater part of the art galleries of 
 Europe and America. I have taken great interest in this splendid collec- 
 tion and have been here to see it a number of times and have examined 
 the various departments carefully and all the time with greater interest 
 and a higher appreciation of the many examples and of the whole as an 
 art collection. I have said heretofore, and do now, that it is the finest and 
 most superb collection that I have ever seen. 
 
 40 
 
CHICAGO TRAINING SCHOOL 
 
 4949 Indiana Avenue, Chicago, August 31, 1918. 
 Mr. T. B. Walker, Hennepin Avenue, Minneapolis, Minnesota. 
 
 My Dear Mr. Walker: On Monday I studied, with absorbing interest, 
 the sacred pictures in the church and visited your art gallery, as well as the 
 public library. I tarried so long at the church and the library that I did 
 not leave myself sufficient time for the art gallery. Though I had heard 
 for years of your art collection, I was not prepared for three or four hun- 
 dred wonderful paintings, to say nothing about the other works of art, and 
 I went away from Minneapolis with a feeling that I had not properly appor- 
 tioned my time. 
 
 The modest exterior throws one off his guard. The very first room 
 had its surprises. Bouguereau's "April Showers," George Inness Junior's 
 "Resurrection Morning," and half a dozen others made me open my eyes. 
 Then to find a whole row of Turner, of whose paintings I had only seen a 
 few, and a group of Constable's paintings, a wall covered with thirteen 
 Corot's, that fine room of portraits and just beyond the collection of land- 
 scapes, the fine group of Rembrandt's and a Millet that I did not know 
 existed, to say nothing of a hundred others. It was a sacramental hour. 
 I want to thank you for the privilege of enjoying this collection. 
 Very sincerely yours, 
 
 LOUIS F. W. LESEMANN. 
 
 Professor David Starr Jordan, President of the Leland Stanford Uni- 
 versity, after visiting the Galleries in company with Mrs. Jordan, expressed 
 his opinion in the following statement: 
 
 "I do not profess to be an art critic, but I have seen miles of pictures 
 in my time, at home and abroad, in public and private collections, but of 
 all the galleries that I have seen, without exception, a large part of the 
 paintings should be turned face to the wall. I have examined every pic- 
 ture in this collection, and there is not one that needs disturbing, and it is 
 the only gallery of the kind that I have ever seen, and stands the highest 
 as a collection of art." 
 
 Free Synagogue, New York. 
 Stephen S. Wise, Residence, 23 W. 90th Street. Dec. 9, 1912. 
 
 Thomas B. Walker, Esq., Minneapolis, Minn. 
 
 My Dear Mr. Walker: I write for one thing to express to you my 
 deep-felt gratitude for the great joy which the visit to your home and gal- 
 lery afforded me a few days ago. While I thank you, I feel that I should 
 congratulate Minneapolis upon having in its citizenship a man who has 
 amassed so noble a collection, as you have gathered from the four corners 
 of the earth. It is a great collection, for it is not only representative of 
 the masters, but, as far as I am able to judge, consists of great examples of 
 the great masters. 
 
 Fine as is the collection, it is not finer than the spirit of its owner in 
 
 41 
 
throwing open the doors of his home to the community, and the nation, so 
 that multitudes may share with him the possession of those art treasures. 
 * * * * Sincerely yours, 
 
 (Signed) STEPHEN S. WISE. 
 
 I have seen many of the finest art galleries, and collections of art 
 in this country and Europe, but not one of them compares with this one 
 in magnificence, and beauty of all the objects in it. I do not know a single 
 one that, taken all together, stands in the same class. 
 
 JOSEPH CHAPPLE, 
 Proprietor and Chief Editorial Writer, National Magazine, 
 
 Boston, Mass. 
 
 "I have often heard of this gallery as a fine collection and I have 
 come to Minneapolis for the purpose of seeing it, but I did not expect 
 to find anything like the extraordinary display of art that I find in these 
 galleries. I have seen many of the fine art galleries of the world, and this 
 is the most magnificent collection that I have ever seen." 
 
 MRS. JEROME CHRISTY, 
 Quincy, 111. 
 
 HENRY REINHARDT, 
 
 Chicago, New York, Paris, France. 
 
 Art Dealer, Auditorium Annex. 
 
 Chicago, 111., May 21, '07. 
 Mr. T. B. Walker. 
 
 My Dear Sir: Last year I made a special trip to Minneapolis for the 
 purpose of seeing your collection of paintings. I had heard them so highly 
 spoken of by many different persons, who had visited your gallery that I 
 deemed it worthy of a trip for the express purpose of carefully examining 
 the collection. I must say that while I expected from the reports of others 
 to find a fine collection, I was greatly surprised to find it the most uniformly 
 beautiful and attractive collection that I have, ever seen. I have made Art 
 a business and a study for many years, have visited public and private 
 collections in this country and in Europe, and so far as I can make a gen- 
 eral comparison, I believe that no other gallery, either public or private, 
 that I have ever seen, contains so uniformly a high, attractive, and beau- 
 tiful array of pictures as I found in your gallery. I was more than sur- 
 prised and put in nearly the whole day in a most interested examination 
 and appreciation of the paintings. Sincerely yours, 
 
 HENRY REINHARDT. 
 
 Mr. Charles Haag, an eminent Swedish sculptor, after an extended visit 
 to the galleries, when interviewed at his hotel, said: 
 
 <•« ^ « * J jjj^yg traveled, and lived, in Italy, France, Germany, Aus- 
 tria and Switzerland, and have seen the art museums there; and I must 
 
 42 
 
say that I can see no need for Minneapolis art students to go abroad when 
 they have at home such matchless treasures. In no other gallery have I 
 seen such a collection of old masters. Often have I heard of the Walker 
 Gallery and I feel that it was worth coming to Minneapolis, if only to visit 
 it. The Walker collection of Chinese jades and objects d'art, cannot be 
 equaled anywhere." — Fair Play, January 16, 1916. 
 
 London Address — New York Address — 
 
 Heathland Lodge, Plaza Hotel, 
 
 East Heath, Hamstead, Fifth Avenue, 
 
 London. New York, N. Y. 
 
 MISS OLGA NETHERSOLE, 
 
 Personal Representative, Mr. Slaine Mills. 
 
 February 14, 1914. 
 My Dear Mr. Walker: This is just to thank you once again for giving 
 me the opportunity of seeing your rare and beautiful collection of pictures, 
 Chinese porcelains, Greek vases and wonderful Assyrian glass and last but 
 not least, the wondrous jades of China. You certainly gave me two hours 
 of happiness in showing me your treasures. Again, thank you. I hope to 
 have the pleasure of the day seeing you and Mrs. Walker in my little house 
 in London, the address of which is in the left-hand corner of this paper. 
 
 Sincerely I sign myself, 
 
 OLGA NETHERSOLE. 
 
 Miss Ruby Danenbaum, notable art writer of New York, among many 
 comments on the collection, has this to say: 
 
 "The length and breadth of our land,\ and in foreign countries where 
 art has real meanings, the Walker collection represents two salient quali- 
 ties: perfection and generosity. Perfection from the fact that it is con- 
 sidered by connoisseurs to be the most carefully selected collection of 
 beautiful pictures in this country or Europe; generosity, because it is 
 housed in a private residence, and is entirely free to the public every week 
 day of the year. Strangers in Minneapolis are attracted by the grassy lawn 
 in the heart of the hotel and theater district on Hennepin avenue and 
 Eighth street, with its closely encircling park benches, occupied by weary 
 humanity from early morning until late at night, during the summer months 
 and are curious about the house and grounds. When they learn about the 
 gallery, and that entrance to it is as free as the use of the benches, for 
 whoever may wish to rest upon them, they lose no time in taking advantage 
 of the entrance privilege. Anyone wishing to hear unbounded enthusiasm 
 should listen to the strangers, in the Walker Gallery — they are spontaneous 
 in their praise of what they look upon as the most magnificent art collec- 
 tion they have ever seen." 
 
 43 
 
Hotel Radisson, Minneapolis, Jan. 14, 1913. 
 Mr. T. B. Walker. 
 
 Dear Sir: I have always been deeply interested in the study of art, and 
 have had the privilege of visiting and studying the leading art galleries 
 of Europe. They are great, but what shall I say about this collection. To 
 say that it is unique, superb, grand, magnificent and excellent does not fully 
 express my admiration for this most perfect art gallery. There is such a 
 grandeur and charm over the whole collection that words fail to express it. 
 I wonder how many times I have visited the collection, and how many 
 friends I have brought there. 
 
 With highest compliments and sincere good wishes, I beg to subscribe 
 myself. Very respectfully, 
 
 T. T. A. W. HALVERSTAD. 
 
 (Mr. Halverstad is representative of the Thomas Hospital and field 
 secretary of the United Church Hospital Association.) 
 
 The following brief extracts are selected from "A Review of the 
 Thomas B. Walker Art Gallery," by Mr. Blair Hough, art critic and writer, 
 of New York City, and published in New York, Chicago, St. Louis, Minne- 
 apolis, and other papers, in May, 1907. 
 
 "Mr. T. B. Walker owns a collection of rare and costly paintings from 
 the hands of the world's masters, covering the last five hundred years, and 
 has generously opened the great gallery to the public. Anyone is at liberty 
 to call at the Walker residence and view the paintings and other treasures 
 it contains. The art galleries of Europe and America have been searched 
 and their choicest treasures purchased. Artists' studios have been explored, 
 and with the eye of a connoisseur Mr. Walker selected examples that have 
 made their painters renowned. Many a master of note since the fourteenth 
 century has contributed to this collection of art. * * » The gallery is 
 elegantly appointed and adjoins his residence on Hennepin avenue. His 
 method of opening this to the public is without parallel, and is praised by 
 visitors and the people of Minneapolis alike." 
 
 Mr. Joseph Jefferson, in an interview said: 
 "* * * This is the uniq^Ie gallery of all that I have seen. Every pic- 
 ture on these walls is genuine and of the highest order of merit. In most 
 collections the larger part of the pictures are commonplace, mediocre, or 
 uninteresting, and amongst them many that are not genuine. All of these 
 are most satisfactory examples, and worthy of a place on the walls of any 
 gallery." 
 
 Fifth Ave. and S2nd St., New York, N. Y., April 1, 1913. 
 Thomas B. Walker, Minneapolis, Minn. 
 
 My Dear Sir: One of the first things I did, on the occasion of my visii 
 to Minneapolis last week, was to go and see your Art Galleries. I have not 
 
 44 
 
yet recovered from the pleasurable surprise I experienced on seeing your 
 collection. Fii-st, the quality; second, the variety, and third, the quantity 
 of pictures, porcelains, jades and other art objects, seemed almost unbeliev- 
 able. I was dumbfounded that anyone in the space of a lifetime could 
 acquire such a truly marvelous collection, and I have been over and over 
 your collection, in spirit, ever since. 
 
 (Signed) THOMAS JAMES DONLOY. 
 
 Statement by Rev. B. I. HoUington, pastor Central Methodist Epis- 
 copal Church, Toledo, Ohio: 
 
 "I have made art a special study and have taken great interest in it to 
 that extent that I have made it a specialty on which I have delivered many 
 lectures. I have seen the public galleries of Europe and America, and many 
 of the private ones, and I do not know of a collection where there is such 
 a uniformity of high class art in any gallery that I have ever seen. There 
 are no commonplace, uninteresting pictures, but all are beautiful and attrac- 
 tive examples of high grade art, of many of the greatest pairfters of the 
 world." 
 
 "THE EMPRESS," 
 Victoria; B. C. 
 
 October 29, 1913. 
 
 My Dear Mr. Walker: I am still living over again those happy hours 
 spent in your museum. Those glorious old masterpieces and paintings of 
 modern artists; the vast collection of antique potteries, those superb ex- 
 amples of ancient jewels, the valuable jades as well as the other rare and 
 beautiful art objects; added to this the privilege of having been conducted 
 by you personally through the galleries, shall ever remain among my most 
 treasured memories. 
 
 Accept, my dear Mr. Walker, the most sincere admiration and the 
 heartiest thanks of 
 
 HELEN KOLMS LOEWENTHAL, 
 
 New York. 
 
 New York, 569 Fifth Avenue, 
 July 19th, 1916. 
 T. B. Walker, Esq., Hotel Seville, New York City. 
 
 * * * The T. B. Walker collection ranks far above the importance 
 of all the private collections in the world, and it can be said truthfully, that 
 should the Walker collection become a Public Institution, it would consti- 
 tute one of the most important museums in existence. 
 
 It is hard to understand how one man, during his lifetime, has been 
 able to gather such a great collection which will forever have a reiining 
 influence upon the Art of the United States. 
 
 Yours respectfully, 
 
 EDWARD BRANDUS, 
 Chevalier of the Legion of Honor. 
 
 45 
 
The Reverend and Professor Camden M. Cobern, of Meadville College, 
 Pennsylva?nia, an Oriental scholar and archaeologist, who has spent sev- 
 eral seasons exploring in Egypt, Syria and Babylonia, after looking over the 
 six cases of ancient necklaces and jewels in the gallery, pronounced the col- 
 lection the largest and finest in the world and in acknowledgment of three 
 necklaces presented to him, he writes the following letter: 
 
 124 W. Franklin, Shelbyville, Indiana, March 29, 1915. 
 
 Dear Brother Walker: * * * But, after all, the thing that kept me 
 awake for two nights, were those wonderful necklaces you gave me! That 
 you should think enough of me to trust me with any of these rare things 
 and especially with that necklace from Tyre, and that wonderful carnelian 
 chain, besides the striking Egyptian one, makes me feel that I must live up 
 hereafter to my highest opportunities. 
 
 Yours with warm regard, 
 
 (Signed) CAMDEN M. COBERN. 
 
 The large and magnificent collection of ancient art exhibited in the 
 Walker Galleries from the tombs of Syria, Egypt, Babylonia and Greece, 
 was to very large extent obtained from Mr. Azeez Khayat, an Educated 
 Syrian, who has been engaged in exploration from his earliest years to 
 the present time. He has perhaps explored more extensively the tombs, 
 graves, temples, palaces and other ancient ruins, than any other explorer. 
 While the major portion of the ancient art collection was secured from 
 Mr. Khayat, a considerable part of it has also been obtained from 
 Kouchakji Freres and H. G. Kevorkian, two prominent Persian art houses, 
 and also from Mr. Dikran Kelekian (the representative of the Persian Gov- 
 ernment in this country), and by selections from other important collec- 
 tions. Excerpts from various letters and written statements of Mr. Khayat 
 are quoted below. They relate principally to the objects secured from 
 him, but deal also with the ancient art collection as a whole: 
 
 "My work in exploring the Eastern Nations began while I was a boy 
 at school 12 years old. I became interested in the ancient art in the ruins 
 of the ancient city of Tyre, Syria, near to where I spent my early years. 
 The City was founded by Tyrus, the seventh son of Japheth, the grand-son 
 of Noah, 2750 B. C. The Phoenicians built a great wall around the city. 
 These walls were later destroyed by Alexander the Great after a siege of 
 seventeen years. 
 
 I have spent every Spring and Summer for twenty-five years excavat- 
 ing in Syria and other countries and every Fall and Winter I returned to 
 New York for the sale of my collections. I have given you the first choice 
 of all my finds since you bought the first pieces from me — about twenty 
 years ago. I brought to you Egyptian, Roman, Phoenician necklaces and 
 ancient gem glass, jewelry and other art objects from the tombs, temples 
 and palaces and you selected from the larger numbers only those which 
 you considered the finest and most attractive of their kind, until your col- 
 lection has now reached its present size and importance, which taken al- 
 together is much the iinest in the world. And I certify and guarantee 
 that every piece obtained from me is from the old tombs and ruins of these 
 ancient nations, as represented. 
 
 46 
 
As to where I have disposed of the other portions of my finds, I may 
 say all over the world, but chiefly in this country to the large museums 
 and institutions, such as The Metropolitan Museum of Art; The Museum 
 of the Brooklyn Institute; The Memorial Hall Museum of Philadelphia; 
 The Boston Museum of Fine Arts; The Pittsfield Museum of Art; The To- 
 ledo Museum of Art; The Rhode Island School of Design; The Scemetic 
 Museum of Harvard University and to various other large institutions; also 
 to the largest and best known collectors in the country. 
 
 I have excavated this year (1911) more tombs than in any year before, 
 but did not find a large number of pieces. The supply is getting exhausted 
 and everywhere I go I meet representatives of European Museums coming 
 to buy the many art pieces that I have found. After I select the best of 
 my finds, I let them have the rest. I do not even show them good pieces. 
 I reserve all the very finest for your collection. 
 
 I have just succeeded in getting out of the country (1912) the beautiful 
 collection of Egyptian and Phoenician inlaid and enameled glass which I 
 promised to send to you. It consists of fifty pieces of various forms and 
 colors. Most of them are finer than any others I have ever found. 
 
 I have also obtained a marvelous Roman Mosaic glass bowl similar 
 to the others that you purchased from me, but with different decorations. 
 It is a wonder. The glass is very hard and has very little iridescence but 
 the colors are a beautiful combination of rubies, emerald, sapphires, dia'- 
 monds and other precious gems made into gem glass. I consider this 
 bowl and one of the others you purchased from me before, to be the two 
 finest pieces of glass in the world. Mr. Morgan and Mr. Curtis have 
 nothing equal to them. 
 
 I have obtained a dozen other magnificent pieces of different kinds 
 which are simply marvelous not only in form and color but in decorations 
 and designs. They were all found in a Royal tomb recently excavated near 
 Sidon. They were probably the collection of the King, as most promi- 
 nent men in history were glass lovers. Alexander the Great and Nero 
 were glass collectors. Even the prophet Mohamet was a collector. 
 
 Your collection of ancient glass in quality is more than equal to the 
 collection of the Metropolitan Museum of Art, which is the largest in the 
 world. Your collection is finer than Mr. Morgan's collection. Mr. Curtis' 
 collection is larger than yours but not nearly as fine. You have many 
 unique pieces that have no equal in the Curtis or any other collection. 
 
 Of Tanagra figures, Greek vases, etc., you have the finest collection in 
 the country. 
 
 Your collection of Cufic Glass Coins from Damascus is next to the 
 finest in this country. The largest and finest is at the American Numis- 
 matic Society of New York City. 
 
 Your collection of Babylonian tablets is the third largest and finest in 
 this country. The first is that of the Pennsylvania University, next is 
 Mr. Morgan's collection and then yours. 
 
 The bronze figure of God Baal is larger by two inches than those of 
 the same kind in the Museum of Louvre in Paris. It has no equal in any 
 Museum in this country. 
 
 Permit me to say a word about your collection of gold rings and 
 ancient Greek and Roman engraved gems from old tombs. There is but 
 
 47 
 
orie other as fine a collection in this country. Engraved gems are not 
 found in large numbers. You have so many art treasures and so many 
 collections in all branches of fine arts that perhaps you do not fully appre- 
 ciate the wonderful collection of rings and ancient Greek and Roman en- 
 graved gems which you have. In the Eighteenth century many of the 
 prominent people of Europe— Kings, Queens, Princes and others vied with 
 each other for the possession of the finest engraved gems. It was a sign 
 of education and culture. Ancient gems were engraved in the Greek and 
 Roman periods by the greatest artists and they brought big prices at the 
 time they were made. That accounts for their scarcity. 
 
 In a whole season of excavations with 500 or 600 diggers, I find hun- 
 dreds of pieces of glass, pottery and bronze, but only a dozen or two of 
 engraved gems. Your collection is made up of many examples obtained 
 from my explorations and the cream of the following collections: The 
 Draper collection, which has taken her forty years to make; the Curtis 
 collection and the Perera collection. It ranks next to the collection of the 
 Metropolitan Museum of Art, which is the finest in this country. 
 
 Out of all my finds, I have again (1914) selected for you twelve pieces 
 of glass, twelve necklaces and a half a dozen pieces of pottery, but they 
 are the cream of all my finds and the finest in the world. They are the 
 result of five months hard work with five hundred diggers all over the 
 country so description does not do them justice, but when you see them 
 you will be very much pleased, and when added to your collection, will 
 make a splendid addition. 
 
 The Plaques which I sent you (1910) are Persian glazed pottery 
 plaques taken from the Mosque at Naplous, Syria, which has been torn 
 down recently and purchased by my brother at the site of the Mosque direct 
 from the High Priest. This was the only old Mosque in Syria which had 
 not been torn down and those plaques were set in the ceiling. Their 
 glaze is very beautiful and they are iridescent in the back, the date on the 
 door of the Mosque was the 12th Cent., therefore these plaques must be 
 of about that period and have been made at Rekka, near Aleppo. Pottery 
 of this period is very rare and valuable. 
 
 I mailed you two weeks ago (1914) a photograph showing a party of 
 my diggers working at Mount Carmel and also showing the opening of a 
 fine tomb cut out in the rock which they have just discovered. Some of 
 my finest pieces of glass have been found in this tomb. I have now twelve 
 pieces finer than any glass I ever had, they have no equal in Mr. Morgan's 
 or Mr. Curtis' collections and I shall be glad to send them to you. 
 
 I have also a few exceedingly fine necklaces of beads — one of them 
 has no equal in any collection in the world. It is made up of Mosaic beads 
 inlaid with designs representing ladies portraits and flowers in various 
 colors running through the glass. Each bead is a work of art and unique 
 and the whole necklace has no equal in any Museum. I have also some 
 wonderful pieces of Babylonian pottery of the finest blue glaze. You will 
 be very much pleased to see them. 
 
 I have been all this time in the interior of Syria (1910) and I waited 
 to find some interesting things before writing you. I have obtained some 
 wonderful pieces of ancient glassware, Phoenician, Egyptian, Greek and 
 Roman. Some of them are execdingly rare. I have also obtained a big 
 
 48 
 
find of Roman Silver Dinariis of almost all the different Roman Caesars. 
 They include coins of Tiberius Caesar. Our Lord Jesus was sold for thirty 
 of these coins and it was one of these silver Dinariis which was handed to 
 our Lord when he told them "Render therefore unto Caesar the things 
 that are Caesar's and unto God the things that are God's." I still have 
 the Tanagra groups and the bust of Jupiter which 1 have described to you 
 before I left and when I return to New York will send them to you on ap- 
 proval. 
 
 The Prophet Abdul Baha was exceedingly pleased with your collections. 
 He never saw such a collection together. It is true there are collections 
 in the East but there is nothing to compare with yours. You have marvel- 
 ous pieces of gem glass which could not be duplicated at any price and 
 your collection of beads and necklaces is not only the largest but the finest 
 in the world. None of the many collections in this country, Europe or 
 Asia can compare with your collection. 
 
 As for the last lot of necklaces I sent you, they come from the collec- 
 tion of Lady Geraldine Overend of London, England. She spent several 
 winters in upper and lower Egypt where she gathered her collection of 
 beads. She strung. every necklace herself and she wore. them to match the 
 different colors of her gowns. The necklaces I sent you are the choicest 
 in her collection. I thought that as they were fine, and are strung long 
 and different from any you have, they would help to make your collection 
 complete. 
 
 The following descriptive letters and translations were written by Dr. 
 Edgar James Banks, Archaeologist and Oriental Scholar of Pennsylvania, 
 Chicago and Toledo Universities. Dr. Banks is a most successful explorer 
 of Bisma and other parts of Babylonia, as well as Arabia, Egypt and Syria, 
 and it was from him that the Babylonian tablets, cylinders and conehead 
 were procured, and which are now in or to become a part of the Academy 
 of Science collection: 
 
 Letter giving general description of inscribed tablets which were ob- 
 tained from Dr. Edgar J. Banks in 1914 and are now in the coUettions at the 
 Minnesota Academy of Science, Public Library Building, Hennepin Avenue 
 and Tenth Street, with their translations: 
 
 EDGAR J. BANKS 
 4 Abbott Street 
 Greenfield, Mass. 
 
 April 24, 1914. 
 Mr. T. B. Walker, 
 
 Minneapolis, Minn. 
 Dear Sir: Recently in several of the buried cities of Babylonia, Arabs 
 discovered a large number of inscribed tablets. Many of them come from 
 about 2400 B. C; others are from the time of Nebuchadnezzar, and some 
 of them bear his name. They are letters, contracts, and temple records 
 in good condition. 
 
 These tablets, together with other more valuable inscriptions, I ob- 
 tained while in Babylonia and am offering them to collectors. Each tablet 
 is guaranteed genuine. Very sincerely yours, 
 
 EDGAR J. BANKS. 
 
 49 
 
Translation by Dr. Edgar J. Banks of a cylinder of Nebuchadnezzar, 
 Kinfe of Babylon, 60S to 562 B. C, found at Marad, south of Babylon: 
 
 The cylinder was found at Wana-Sadoun, a suburb of Babylon, by 
 Arabs who were digging for bricks for the irrigation works. It was in a 
 niche in the temple wall where it was buried according to the custom of 
 the times. The translation is accurate, and fairly literal. It describes the 
 building of the walls of Babylon, as you will see, the restoration of the 
 temples of Babylon, and also the temple tower E-bar-sag-il, which is the 
 tower, now in ruins, that scholars associate with the Biblical story of the 
 tower of Babel. Scholars believe that the tower gave rise to the Biblical 
 story. The ruins of that tower are called Birs, and they lie a little to the 
 west of Babylon. Thus the inscription has to do with two of the most 
 remarkable structures of the ancient world. I think that I have told you 
 that other cylinders from Nebuchadnezzar have been found, bearing similar 
 inscriptions. One is in the British Museum, one at Yale, one in New York 
 Library, one in the Toledo Art Museum, and one in the possession of Mr. 
 Walters, of Baltimore. This is the equal of any of those and you will 
 notice that it is practically perfect. There is not one of them in the Louvre 
 Museum, but they were negotiating for this particular one going in when 
 the war made it impracticable to complete them. 
 
 "I am Nebuchadnezzar, King of Babylon, the great, the mighty, the 
 favorite of Marduk, the powerful prince, the beloved of Nabu, the ruler who 
 knows not weariness, the protector of the temples Esagil and Ezida, who 
 is obedient to Nabu and Marduk, his lords, who does their bidding; the 
 wise lord, the darling and the joy of the heart of the great gods, the first- 
 born son of Nabupolazzar, King of Babylon. 
 
 When Marduk, the great lord, made me the rightful son, to rule the 
 land, to be shepherd of his people, to care for the city, to rebuild the 
 temples, he bestowed upon me his great power. Tremblingly I was 
 obedient to Marduk, my lord. I completed Imgur-Bel and Nimitti-Bel, the 
 great walls of Babylon, the mighty city, the city of his exalted power. At 
 the entrance of the great gates I erected strong bulls of bronze, and ter- 
 rible serpents standing upright. My father did that which no previous king 
 had done. With mortar and bricks he built two moat walls about the city, 
 and I, with mortar and bricks, built a third great moat wall, and joined it 
 and united it closely with the moat walls of my father. I laid its founda- 
 tion deep to the water level; I raised its summit mountain high. I con- 
 structed a moat wall of burned bricks about the west wall of Babylon. 
 
 My father built the moat wall of the Arachtu canal securely with mor- 
 tar and bricks. He built well the quays along the opposite shore of the 
 Euphrates, but he did not finish all his work, but I, his first-born son, be- 
 loved of his heart, built the moat walls of Arachtu with mortar and bricks, 
 and joining them together with those of my father, made them very solid. 
 
 Esagil, the wonderful temple, the palace of Heaven and earth, E-Kua, 
 the temple of Marduk, the lord of the gods, Ka-hili-sug, the great dwelling 
 place of Zarpanit, Ezida, the temple of the king of the gods of heaven and 
 earth, I clothed with shining gold, and made bright like the days. 
 
 Ezida, the favorite temple, the beloved of Marduk, I restored in Bor- 
 
sippa (Col. 2} with gold and jewels I gave to it the beauty of paradise. I 
 overlaid with gold its 'great beams of cedar, and arranged them by threes 
 to cover E-mach-tila, the shrine of Nabu. 
 
 I rebuilt and made lofty Emach, the temple of Nin-hE.r-sag, in the cen- 
 ter of Babylon . . . and E-kiki-ini, the temple of Ninlil-Ana, near the 
 wall of Babylon. 
 
 A thing which no king before had ever done! 
 
 To the west of Babylon, at a greater distance from the outer wall, 1 
 constructed an enclosing wall four thousand cubits in length about the city. 
 I dug its moat to the water level. I walled up its sides with mortar and 
 burned bricks, and I united it securely with the moat walls of my father. 
 Along its edge I built a great wall of mortar and burned bricks mountain 
 high. 
 
 I rebuilt Tabisu-pur-shu, the wall of Borsippa. To strengthen it I 
 built the wall of it a moat about the city with mortar and burned bricks. 
 In Borsippa I rebuilt the temple Tur-lil-en. the god who breaks the weapons 
 of my foes. Ebarra, the temple of Shamash in Sippar, Edurgina, temple of 
 Shar-sabi in Bas, E-idi-anu, temple of Anu in Dilbat, E-Anna, temple of 
 Ishtar in Erech, Ebarra, temple of Shamash in Larsa, E-Gish-shir-gal, tem- 
 ple of Sin in Ur, the sacred temples of the great gods, I rebuilt and com- 
 pleted. 
 
 The support of Esagil and Ezida, the rebuilding of Babylon and Bor- 
 sippa, which I caused to be more magnificent than before, I did according 
 to instructions. All my noble deeds in regard to the support of the sacred 
 temples of the great gods, which I did better than the kings, my fathers, I 
 wrote upon a stone tablet and fixed for future days. 
 
 May the wise men after me read of all my work which I have written 
 upon a tablet. May they comprehend the glory of the gods. The building 
 of the cities of the gods and goddesses which Marduk, the great lord (Col. 
 3), set me to do, and kept urging my heart to undertake, with fear and with- 
 out rest I accomplished. 
 
 At that time for Ninharrak, my beloved mistress, who guards my life, 
 and makes my dreams good, I dug up and behelf the ancient foundations of 
 E-har-sag-il, her temple in Babylon, which fell to ruins in ancient days, and 
 which no previous ruler had rebuilt . . but the construction of the 
 
 temple was not suitable for Nin-harrak. I endeavored eagerly to strengthen 
 the wall of that temple, and of mortar and burned bricks to build a temple 
 worthy of Nin-harrak. Upon the day when it is customary to ask the gods 
 concerning the future, Raman and Shamash gave me the fixed oracular re- 
 sponse, to make three burned bricks sixteen finger breadths in size, and to 
 make an image of burned clay as a charm against disease. And so I made 
 three bricks of sixteen finger breadths in size, and an image of baked clay, 
 a charm to drive away diseases, and I placed it at the base of the founda- 
 tion. With mortar and burned bricks I erected the temple mountain high. 
 
 O Ninharrak, majestic mistress, when with joy thou enterest thy house 
 Eharsagil, the house of thy pleasure, may words in my favor be ever upon 
 thy lips. Increase my days and make long my years. Decree for me a 
 long life and an abundance of posterity. Give peace to my soul. Make my 
 body strong. Protect me and make my visions clear. O, in the presence 
 
 51 
 
of Marduk, lord of heaven and earth, command the destruction of my foes, 
 and the ruin of the land of my enemies. 
 
 At that time in the temple of Lugal-Marad, my lord, in Marad, whose 
 foundations no former king had seen since ancient days, I sought and 
 found the ancient foundation stone, upon the base of Naram-Sin, my 
 ancient ancestor, I fixed its foundation. I wrote an inscription and my 
 name and placed it thereon. 
 
 O. Lugal-Marada, lord of all, hear, look favorably upon the work of 
 my hands. Grant as a gift a life of distant days, an abundance of posterity, 
 security to the throne, and a long reign. Smite the evil-minded; break their 
 weapons, and devastate all the lands of my enemies. Slay all of them. May 
 the fearful weapons, which spare not the foe, stretch forth and be sharp for 
 the defeat of my enemies. O, may they ever be -at my side. Intercede for 
 me with Marduk, lord of heaven and earth, and make my deeds appear 
 acceptable." 
 
 Translation of the inscription on the cone-head of Arioch or Eri-aku, 
 King of Larsa, a contemporary of Abraham, who is mentioned in the 
 Biblical book of Genesis 14:1 and 9. Larsa is the same as Ellasar. It is 
 a ruin in southern Babylonia, where the Arabs have discovered some of the 
 oldest and most valuable antiquities. For a description of the ruin, see 
 Banks' Bismya, pages 417 to 419. The modern name of the ruin is Sen- 
 kereh. 
 
 The name of Arioch was unknown until recently, excepting in the pas- 
 sage above, and it has been argued by scientists that no such king as 
 Arioch, King of Ellasar, existed, for his name was known only from this 
 Biblical passage. The discovery of this inscription, and also of a number 
 of clay contract tablets bearing his name, have proved his historical char- 
 acter, and now he is known to have been one of the prominent kings who 
 ruled over a large part of Babylonia, including Ur of the Chaldees, the 
 home of Abraham. His date is fixed both by the inscription and by the 
 Biblical passage, for he was a contemporary of Hammurabi, King of Baby- 
 lon, who is mentioned in the Biblical passage as Amraphel, and also a 
 contemporary of Abraham. The date is 2250 B. C. The inscription there- 
 fore is one of the most important from early Babylonia from a historical 
 point of view. 
 
 The inscription is on the head of a large clay cone. It is uncertain 
 just where the cone was placed, but it seems to have been driven into the 
 Weill of the' palace or temple so that the head showed and served as an 
 ornament, and was a perpetual prayer to the Goddess Ishtar. The cone part 
 is mostly broken away. It, too, was inscribed, and the few remaining char- 
 acters show that the same inscription was upon the cone as upon the head. 
 It reads: 
 
 "To Ishtar, the exalted lady of splendor, priestess of hosts, the eldest 
 daughter of the god Sin, his lady, Arioch, the favorite prince of Nippur, the 
 adorner of the city of Ur, the overseer of the cities Girsu and Shirpurla, 
 
 52 
 
who is revered in the temple Ebnabbar; King of Larsa, King of Sumer and 
 Akkad; the beloved lord of the harvest, who fulfills the commands; who 
 builds anew the temples of the gods; who has made a colossal copper 
 statue of his kingship; who restores the greatness of her devastated city; 
 who truly rebuilt her wall, who truly caused to be thickly inhabited her 
 extensive land; exalted of hearts. I am the warrior who turns the enemy 
 back; to whom Ea has given a wide understanding' for the conduct of the 
 city's work. For the sake of Ishtar, the merciful lady, her home of splen- 
 dor, the awe-inspiring dwelling of her joyous heart, according to its old 
 appearances, its interior he filled with light more than before. Her shrine 
 E-su-sig-ga he enlarged for the future, for his life he built it. Its head he 
 reared high; like a mountain he made it lofty. Of these brilliant deeds may 
 Ishtar, my lady, look kindly. An abundance of years, a firmly established 
 throne, a putting-down of the uprisings may she bestow upon me as a gift." 
 
 53 
 
COLLECTION OF INDIAN PAINTINGS. 
 
 (Some of the Indian paintings are temporarily located in the Hallway- 
 upstairs from the Gallery Entrance, while the others have been placed in 
 storage.) 
 
 This collection contains over one hundred and thirty Portraits of 
 notable Indian Chiefs, Scouts, Frontiersmen and Commanders in our Indian 
 Wars in the last sixty years. These life-sized portraits were all sketched 
 and painted from life by the greatest of all painters engaged in this class of 
 portraiture. — H. H. Cross. It is interesting to note that not only has the 
 character and tribal traits of the Indian been depicted with skill and ac- 
 curacy, but his native dress has been strikingly portrayed as well — a fea- 
 ture which no other of the frontier painters have succeeded in successfully 
 accomplishing. This splendid collection should be of the greatest histori- 
 cal interest and value to future generations. 
 
 From Chicago Daily Tribune, April 3, 1918. 
 
 "Henry Cross, noted painter of Indian types and explorer of the West 
 in the days of the Buffalo Herd, died yesterday at the Evangelical Deacon- 
 ess Hospital after an illness of three months. He was eighty years old. 
 
 Henry Cross was born in Tiolga County, New York, on November 23, 
 1837. As a youth he started out with P. T. Barnum's Circus. With the 
 show he visited Chicago, then a village, traveling from Binghamton, N. Y., 
 by wagon. Cross then went to the present city of Minneapolis and floated 
 down the Mississippi River to New Orleans, drawing the scenery with 
 charcoal on canvas and meeting the Indians along the way. 
 
 In 18S7 he left Chicago in a prairie schooner with the famous shibbo- 
 leth, "Pikes Peak or Bust" painted on the side of his wagon. When the 
 little party got to Denver, or Cherry Creek, as it was then known they 
 were in sight of Pike's Peak, but they were busted. Cross organized a 
 new party to go to California by stage, spending months with the Indians 
 on the journey. In Minnesota in 1862 he painted all Sioux Indians sen- 
 tenced to death by President Lincoln for a massacre of white settlers. 
 At this time he became intimate with Sitting Bull, Red Cloud and Ameri- 
 can Horse, famous Sioux chieftains. 
 
 Cross made five trips to Africa with Barnum to collect wild animals. 
 Among his portraits were paintings of King Edward of England, Presi- 
 dent U. S. Grant, which Grant sent as a gift to the Sultan of Turkey. He 
 painted Leland Stanford, Cornelius Vanderbilt, Robert Bonner, James J. 
 Hillj President Diaz of Mexico, Kalakaua King of Hawaii, Col. W. F. Cody 
 (Buffalo Bill), and other historic characters. 
 
 Fifty of his Indian paintings are now on display in the rooms of the 
 Chicago Historical Society. Cross was an intimate friend of Cy De Vry of 
 the Lincoln Park Zoo and Col. William Lightfood Visscher." 
 
 54 
 
From Minneapolis Tribune, April 7, 1918. 
 
 DEAD ARTIST HAS 130 PORTRAITS HERE AT WALKER 
 
 INSTITUTE 
 
 With the death of H. H. Cross in Chicago last week, the art world 
 loses one of its foremost painters and frontier characters. His death is 
 keenly felt in Minneapolis, especially to those acquainted with the Walker 
 Art Institute, where about 130 portraits from the brush of Mr. Cross are 
 collected. 
 
 Mr. Cross made Indians and Indian characteristics his specialty in 
 painting. It was his life-long ambition to gather for himself a collection of 
 Indian portraiture and it was with this object in view that he spent a great 
 deal of his life among the Red men and notable scouts and guides. 
 
 He studied his art in both Europe and America and has produced suc- 
 cessful and meritorious pictures for prominent people, including Leland 
 Stanford, Cornelius Vanderbilt, the Emperor of Japan, James J. Hill, Gen. 
 U. S. Grant, President Diaz of Mexico and others. 
 
 Mr. Cross painted the picture of A. Allen, which hangs in the Minne- 
 sota Pioneers' portrait gallery at the state fair grounds. At the time of his 
 death he was 11 years old. 
 
 BUFFALO BILL'S WILD WEST 
 
 New York City, April 20, 1901. 
 My Dear Old and Tried Friend Cross: It is my great pleasure to 
 acknowledge the receipt of the two paintings of Indian and buffalo you 
 have sent me. The Indian portrait of John Grass. I have seen several 
 pictures which have been painted from him, but none of them compare 
 with this one you have just finished, both in color and likeness. It looks 
 as though he was going to say to me "Haw-Coola-AUa, Bill." You have 
 represented in the likeness that peculiar expression he used to have in his 
 eyes when he was thinking of some deviltry to play on someone he liked; 
 and the buffalo picture is so true to life, it puts me back forty years. I 
 almost want to take up my Winchester, just to see how the old thing would 
 work and stir them up a little. I begin to think you are part Indian and 
 part buffalo. You put so much life in everything you do. Your early ex- 
 perience in the western life affords you a greater knowledge and opportunity 
 to put the Indian and buffalo on canvas as no other artist can do at the 
 present day, for your sketches and pictures were all made from life when" 
 they were there. Your Indians are not of the tobacco tribe, such as we see 
 trying to tempt one with a wooden cigar, and the buffalo you paint are not 
 of the Central Park breed. They all have that wild look about them, full 
 of action and life. You have executed these pictures to suit me and I feel 
 very proud of them and I know the Prince of Wales will appreciate them 
 as much, if not more, than I do myself when he recieves them. I shall 
 send them to him this vveek. He had some English painter paint some 
 buffalo from the animals we had in the show, also some of our Indians we 
 had with us there, but he did not like them. He took a great fancy to John 
 Grass and was anxious to get a good picture from him. He was taken 
 sick and I sent him to the agency in Dakota. The prince was very nice to 
 me and these pictures will just hit the spot with him. I have been looking 
 
 55 
 
at your picture "Perils of the Chase," as it was my good luck to witness 
 its completion under, your hand, and I do not hesitate to tell you I think 
 it is the greatest picture of the wild life of the plains I have ever seen. I 
 should have owned that myself, as it represents the situation as but few of 
 us knew them. You should have sent it to England, as it would have given 
 you a great prestige there; as an artist, you could make dollars there to 
 dimes in America. Well, old Pard, how I do wish we could be placed back 
 once more in the sagebrush, rock and alkali, before the railroad and tele- 
 graph. There is some of it I know you, as well as myself, would like to 
 
 live over again, and some of it, well! we draw the line at that. 
 
 I will make a proposition to you: We go to Europe with the Wild 
 West show for the season of 1903-4. Why can you not go over with us and 
 make your studio and headquarters with the show, we make from two days 
 to six days stands; put on your buckskins once more and paint, you will be 
 before the people all the time and you will meet the best of them. It will 
 not cost you anything for transportation or grub. Live right with me on 
 the grounds, I will see that you have good quarters in our cars. I would 
 like to have you with me, as you and I are about the only ones left out of 
 all the old boys now. I want you to join my party on our annual hunt in 
 the Big Home country. General Miles has made up his mind to go along. 
 I will say good-bye for now, and good luck to you and yours. 
 
 Your friend, 
 
 W. F. CODY ("Buffalo Bill"). 
 
 New York, March 18, 1916. 
 Mr. R. H. Adams, Curator, 
 The T. B. Walker Art Galleries, 
 Minneapolis, Minn. 
 Dear Sir: 
 
 I feel it a duty to my dear old friend, H. H. Cross and really to pos- 
 terity, to write you my appreciation of that most wonderful collection of 
 Indian portraits, painted by him for Mr. Walker, the greater number of 
 which it has been my pleasure to see. 
 
 To the best of my remembrance, I first became acquainted with him 
 while acting as Chief of Scouts, under General Sheridan, and have known 
 him intimately ever since. My old friend spent the greater portion of his 
 time, for a number of years, with the frontiersmen and among the various 
 bands of Indians in the West and Southwest and of my own personal 
 knowledge, sketched from life scores of notable Indians of those stirring 
 days. His Indians are not of the tobacco sign variety, but having been 
 sketched from life by the greatest painter of Indian portraiture of all times, 
 they are genuine, having all the wild, stolid characteristics of the real In- 
 dian. Having an acquaintance with many of the Indians and Scouts 
 sketched and painted by Mr. Cross, I do not hesitate to pronounce his 
 portraits not only good, but striking likenesses. 
 
 Among those with whom I was intimately acquainted, I can recall 
 Yellow Hand, Sitting Bull, Red Cloud, Old American Horse, Gall, Geroni- 
 mo. Spotted Tail, Roman Nose, Little Crow, Cut Nose, Little Shakopee, 
 
 56 
 
Red Tomahawk, Black Heart, Iron Tail, Big Foot, Flat Iron, Kicking Bear, 
 Cura, Washakie, Tall Bull, John Grass, Plenty Horses, Rain-in-the-Face, 
 Red Shirt, Rocky Bear, Short Bull, Sword, Powder Face, Hump, Lone 
 Wolf, Circling Bear and scores of others whose names I cannot now recall. 
 The real wild Indian is now a thing of the past and Mr. T. B. Walker 
 is certainly to be complimented for having secured such a large number of 
 Mr. Cross's inimitable portraits of most of the really noted Red Men of the 
 last four decades. 
 
 Yours truly, 
 
 (Signed) W. F. CODY, 
 
 "Buffalo Bill." 
 
 Pawnee Bill writes: 
 
 "I had the pleasure of visiting the Art Galleries in 1911, as a guest of 
 Mr. H. H. Cross, who painted the collection of wonderful Indian portraits 
 for Mr. Walker. I should have written my appreciation of this opportunity 
 long ago, only for the press of business, and the lack of proper address. 
 
 "To find such a magnificent collection of great paintings and other art 
 objects, in the Northwest was certainly a very pleasant surprise, but must 
 admit that the collection of Indian portraits painted by Mr. Cross was the 
 gladdest surprise of all. I have personally known a score or more of the 
 Indian Chiefs, and had no trouble in recognizing each and every one of, 
 them in these wonderful portraits. In fact the pictures are such perfect 
 likenesses of these pioneer Red Men of the West, that I was really carried 
 back to the early days, and felt that I was in reality in the presence of 
 old acquaintances." 
 
 Very respectfully, 
 (Signed) G. W. LITTLE ("Pawnee Bill"). 
 
 PAWNEE BILL'S BUFFALO RANCH 
 Pawnee, Oklahoma 
 
 •March 23, 1917. 
 Mr. T. B. Walker, 
 
 807 Hennepin Ave., 
 Minneapolis, Minn. 
 My dear Sir: 
 
 I have just learned that our old friend, H. H. Cross, is in very poor 
 health, and this sad news brought to my njind the wonderful collection of 
 Indian portraits which he painted for you. 
 
 Let us join in wishing for him still many years of health and useful- 
 ness, knowing that when he does pass, it will be the passing of the greatest 
 painter of Indian life that ever lived. 
 
 I have had the pleasure of viewing and inspecting the great collection 
 now a part of the T. B. Walker Art Collection and having personally and 
 intimately known a great number of the Indians and Scouts, found these 
 
 57 
 
portraits so true to life and character, that I really felt as if in the pres- 
 ence of a host of acquaintances and friends. What makes the portraits of 
 still greater importance, is the conviction that each and every one has been 
 sketched from life by Mr. Cross himself. * * * He gained an intimate 
 knowledge of the Indians and has sketched and produced their great vsrar- 
 riors, and chieftains in splendid portraiture, not alone in likeness, but in 
 tribal characteristics and individuality. 
 
 I hope this wonderful collection will be kept intact and that untold 
 generations will be enabled to enjoy seeing these great Indian portraits 
 in the city of Minneapolis, which is right in the heart of the "Land of Da- 
 kotas." * * * 
 
 Yours very truly, 
 
 (Signed) G. W. LILLIE, 
 
 "Pawnee Bill." 
 
 Mr. Chas. N. Herreid, ex-governor of South Dakota, writes in part: 
 
 March 7, 1917. 
 Hon. T. B. Walker, Minneapolis. 
 
 Dear Sir: I have spent some delightful hours in your Art Gallery, 
 viewing, among other treasures, your wonderful collection of portraits of 
 Indian Chiefs, many of whom I knew while they were living in the Dako- 
 tas. As a friend of some of these great Chieftains, I thank you for having 
 secured such lifelike portraits of so many of the notable chiefs of this 
 ■'vanishing race.'' 
 
 Permit me to suggest that you give a more prominent place to my 
 friend, Chief Hump. The greatness of this Chief is not as well known 
 as it deserves to be. While living at Pierre, S. D., 1901-04, then adjacent 
 to the Sioux reservation, on several hunting trips, I visited this remark- 
 able hero at Cherry Creek, where his band was domiciled. I was enter- 
 tained by him and while Governor of the State, entertained him in his 
 visits to the State Capital. Once I drew from him a part of his life's 
 tragedy. 
 
 General Miles declared Chief Hump was the bravest man he had ever 
 known! 
 
 Chief Hump was a most remarkable man. In mind and body a giant. 
 Contact with life — savage and civilized — had developed a sturdy and won- 
 derful character, the like of which we shall never again behold. As one 
 proud of his friendship, I suggest: that Chief Hump shall be remembered 
 as the bravest man that General Miles ever knew! 
 
 Respectfully yours, 
 (Signed) CHARLES N. HERREID, 
 
 Aberdeen, S. D. 
 
 Anoka, Minn., August 19, 1916. 
 Mr. R. H. Adams, Curator, 
 
 T. B. Walker Art Gallery, 
 
 807 Hennepin Ave., Minneapolis, Minn. 
 
 Dear Sir: Some weeks ago I had the pleasure of visiting the T. B. 
 
 58 
 
Walker Art Gallery, which I had been told was one of the finest in the 
 world. I found it much above my expectations. The Indian portraits 
 especially were a surprise and a pleasure to me as they took me back in 
 memory, many years. 
 
 In 1879, at seventeen years of age, I started from Indiana and went 
 to Bismarck, N. D., then Dakota Territory; thence to Standing Rock 
 Agency, where I remained for three years. One Indian portrait in the 
 collection, that of John Grass, whom I knew well, brings the above 
 remembrance. I was well acquainted with him and also with Mr. H. H. 
 Cross, the Indian Portrait Painter and was present when Mr. Cross made 
 the sketch of Running Antilope and of John Grass, in the old mission 
 house at Standing Rock Agency. 
 
 I understand that he made sketches for portraits of several other 
 Indians at this time, but actually saw him working only on the two above 
 mentioned. I do not find the portrait of Running Antilope in the collec- 
 tion but the portrait of John Grass is a striking likeness, as I remember 
 this renowned Indian. 
 
 With best wishes, I remain, 
 
 Respectfully yours, 
 
 (Signed) J. F. WAMBAUGH. 
 
 Redwood Falls, Minn., June 4, 1914. 
 
 "My father was a scout under General George Crook, who in recog- 
 nition of his services gave my father his own name, and he was ever, after 
 known as John Crook, instead of by his Indian name. 
 
 "My father named me George Crook after the general, and as I have a' 
 number of children and numerous grandchildren, the name will be per- 
 petuated. I am a Wahpeton Sioux and remember well, seeing Little Crow, 
 John Otherday and other Indians who took part in the massacre in this 
 vicinity in 1862. The portraits of these men by H. H. Cross exhibited 
 here today are in my remembrance, perfect likenesses of the men." 
 
 (Signed) GEORGE CROOK. 
 
 Hutchinson, Minn., October 19, 1912. 
 "I came to Hutchinson, Minnesota, in May, 1857, and have lived here 
 ever since. I was personally acquainted with the Indian Chieftains, Little 
 Crow, Hole-in-the-day, and Other Day. I saw their portraits in the col- 
 lection loaned by you to the local committee in charge of the recent 
 anniversary here and desire to say that they are excellent likenesses. 
 The writer, Ellen M. Harrington, is the widow of Louis Harrington, who 
 was captain of the Hutchinson stockade forces during the outbreak in 
 1862." 
 
 (Signed) ELLEN M. HARRINGTON. 
 
 Hutchinson, Minn., October 4, 1912. 
 "On behalf of the committee that had in charge the recent anniversary 
 
 59 
 
celebration here, I wish to thank you for your great courtesy and kind- 
 ness in loaning us your magnificent collection of Indian Portraits. The 
 portraits were one of the real big features of the occasion and especially 
 pleased the old timers who were emphatic in their admiration of the 
 excellent likenesses of the Red Men whom they knew fifty years ago. 
 Those whom they knew best were Cut Nose, Little Crow, Little Six, 
 Medicine Bottle, Other Day and Hole-in-the-day, and if the testimonials 
 of the old Indian fighters and pioneers are of any value, you certainly 
 have remarkable likenesses of the old chieftains." 
 
 (Signed) SAM G. ANDERSON, Jr. 
 
 New Ulm, Minn., Aug. 28, 1912. 
 
 "Among the hundreds who viewed the Walker collection of Indian 
 portraits loaned from the famous gallery in Minneapolis for exhibition 
 in Ne"w Ulm, during the anniversary commemoration of the Sioux Indian 
 uprising of 1862, there were not a few who were survivors of that pioneer 
 period in Minnesota history and who had a distinct recollection of the 
 originals of some of the well known paintings. To these men the exhibit 
 was of peculiar interest and as committee in charge, I could not avoid 
 being impressed by the character of their criticism. Without exception, it 
 was favorable to the artist and his work. Had one been able to overhear 
 them without knowing the object of their attention, he would have guessed 
 that they were discussing the familiar features of a photograph of an 
 old friend. 
 
 "I recall the comment of one man especially. Referring to the faithful 
 manner in which the painter had preserved to the present and future gen- 
 erations, the likenesses of the Sioux leaders of half a century ago, he 
 said with enthusiasm, 'Why, they simply couldn't be better.' And that same 
 man knew Little Crow and Other Day, had seen Little Six, Medicine 
 Bottle and many others at Fort Snelling and at other outposts and had 
 aided in the capture of Wo-wi-napa, Little Crow's son, on the shores of 
 Devils Lake in 1863." 
 
 (Signed) F. W. JOHNSON, 
 
 Hutchinson, Minn., October 19, 1912. 
 
 "I was a government scout during the Sioux Indian outbreak in 
 1862, and have lived in Minnesota since 1859. I was intimately acquainted 
 with Little Six and Little Crow, having frequently hunted, with Little 
 Crow. I also knew Other Day, Cut-nose and many other Indians. I 
 saw the portraits of these Indians from your collection at Hutchinson 
 during the recent Old Settler's Re-union and desire to congratulate you on 
 your good fortune in securing such excellent likenesses. They are true 
 to life and of invaluable historical interest. 
 
 (Signed) A. H. DELONG. 
 
 60 
 
Extract from a letter from Mr. Edmund J. Phelps, Minneapolis: 
 
 "Your remarkable portraits of the North American Indian chiefs who 
 figure so prominently in the history of the development of the Northwest 
 during the last half of the nineteenth century, is a great collection and one 
 which cannot be duplicated, not because of the death of the artist, but 
 because the race, as a savage one, has passed away. As a part of this 
 collection are the life-like and almost life-size portraits of General Miles, 
 General Custer and su,ch well known characters as Buffalo Bill, Wild Bill, 
 Kit Carson and many others." 
 
 Mr. J. S. Mack, now a resident of Minneapolis, says: 
 "I went to South Dakota about 1875 and was for a number of years 
 well acquainted with many of the Indians whose portraits adorn this col- 
 lection. The portraits, in addition to being perfect likenesses, are strikingly 
 realistic portrayals of the real Indian character. The dress is also finer 
 and much more natural than any Indian portraits I have ever seen and in 
 this respect they are unusual, as the Indians in general will not stand for 
 being sketched or photographed in their best attire. Nearly or quite all 
 of the paintings of this character that I have ever seen, portray only a 
 blanketed Indian and in most cases these have been painted from a photo- 
 graph or hurried sketch and fail to represent the character or the dress." 
 
 Extract from Herbert Myrick's letter, October 19th, 1914: 
 "Equally noteworthy though of entirely different character, is your 
 wealth of Americana in portraiture — the American Indian portraits by 
 H. H. Cross, so realistic as to be forever an imperishing record of the out- 
 standing personalities of a vanishing race, a permanent heritage of the real 
 Americans — Roman Nose and Sitting Bull and all the rest, along with 
 General Custer; so fascinating to one who is custodian of some of the 
 West's unwritten history, including the true story of Beecher's Island, the 
 Washita, and the Little Big Horn." 
 
 61 
 
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