John Singer Sargent RETROSPECTIVE EXHIBITION OF IMPORTANT WORKS of JOHN SINGER SARGENT FEBRUARY 23rp to MARCH 22nbd 1924 Od & GRAND CENTRAL ART GALLERIES GRAND CENTRAL TERMINAL [ TAXICAB ENTRANCE ] 15 °>UANDERBILT AVENUE NEW YORK CITY oF ree right ve by Painters and Sculptors Gallery Asso ights r served or all countries. :: Printed in the ae cS tes ne Photographs ee A. Juley & Son GRAND CENTRAL ART GALLERIES 15 Vanderbilt Avenue New York City TRUSTEES Joun G. Acar Irvine T. Bus Wa .TeER L. CLARK Rosert W. DEForeEstT WititamM A. DELANO WaLter S. GIFFORD Frank G. Locan OFFICERS President . G2. « <0 uh Ss Gee ats VAI pele Gray Vice President’ . . . . 22 a ROsERT WeDehoresr Secretary and Treasurer . . . . Watrer S. GirrorD FOREWORD HE Painters and Sculptors Association is a non-profit-bearing organization | established solely to further interest in American Art, and to increase the sales of the work of the living American Painter and Sculptor. The Asso- ciation is one of contributing artist members and subscribing lay-members, num- bering about one hundred and fifty each. This membership is not local; the artists are from various regions extending from coast to coast, while the lay-group is composed of those interested in Art in all of the larger cities of the United States, and including Presidents and Vice-Presidents of ten of the great Museums, together with many officers and directors of these Institutions. There are representatives from New York, Boston, Philadelphia, Brooklyn, Rochester, Buffalo, Washington, D. C., Baltimore, Norfolk, Atlanta, Montclair, Newark, Cleveland, Canton, Dayton, Akron, Aurora, Chicago, Moline, Rockford, Joliet, Detroit, Milwaukee, Minneapolis, St. Louis, Kansas City, Denver, Los Angeles and San Francisco. This makes of the Painters and Sculptors Association a national organization in its extent and far-reaching in its interest. This makes it a clearing house and not merely a local sales place. According to the plan of the organization of the Painters and Sculptors Asso- ciation, each of the lay-members has pledged an annual subscription of six-hundred dollars for three years, thus providing for that period a subsidy. Each of the artist members presents to the association, as his membership fee, one of his works a year, for three years, this period having been agreed upon as a proper duration to test the practicability of the plan. At the end of the year each of the lay-members has the privilege of receiving one of the works of the Artist-members. Delano and Aldrich, architects, have designed and planned the Galleries, numbering at present fourteen. The galleries as they are now open to the public constitute the largest and handsomest salesrooms in either Europe or America, and there is no other place where the work of so many American artists can be seen or where the exhibit can constantly rotate and yet maintain its high standard of excellence. In the eleven months during which they have operated they have been visited by over 110,000 people. In this time it has been demonstrated conclusively that a sales place may partake of the excellence of standard, the beauty of installa- tion, the atmosphere, the character, and the dignity of a modern museum and yet impart quite another form of message. Ownership, and the joy of possession, are the elements in the psychology of the Painters and Sculptors Association. The Association is under the direction of seven men who are nationally known as business executives, and who contribute their time and experience absolutely without remuneration. The sales during the past months have been most encouraging. A number of portrait commissions have been placed, while important paintings and bronzes were installed in leading museums. The First Annual Exhibition, and several of the series of one-man exhibitions have been given and will be followed by more. Several out-of-town exhibitions have been held, when the number of sales was most flattering. Pictures were assembled and shipped from this gallery to Rome. Assistance was rendered the National Academy of Design, the Corcoran Biennial, and the Pennsylvania Academy of Fine Arts, The Art Institute of Chicago, and The Carnegie Institute at Pittsburgh in their exhibitions this season. LAY MEMBERS NEW YORK CITY Mr. John G. Agar Mr. Bartlett Arkell Mrs. Harry Payne Bingham Mr. John Mc E. Bowman Mr. Irving T. Bush Mr. Gale Carter Mrs. Joseph H. Choate Miss Mabel Choate Mr. Walter L. Clark Mr. Wm. H. Clarke Mrs. Otto Kahn Mr. L. A. Osborne Mr. George Foster Peabody Mrs. Willard Straight Mr. H. B. Thayer Mr. Hector W. Thomas Mr. Louis C. Tiffany Mrs. W. K. Vanderbilt Mr. Felix Warburg Mr. Paul Warburg Mr. E. E. Bartlett Mr. L. M. Boomer Mrs. Clarkson Cowl Mr. William A. Delano Engineer’s Club Mr. Victor Guinzburg Mr. Henry W. Cannon Mr. William H. Davis Mr. Robert W. DeForest Mr. Daniel Chester French Mr. Henry J. Fuller Mr. Walter S. Gifford Mr. Joseph P. Grace Mr. John R. Gregg Mrs. E. H. Harriman Mr. August Heckscher Mr. Archer M. Huntington CHICAGO, ILL. Mr. Albert Brunker Mr. Edward B. Butler Mr Rw ls Cranes Jr Mr. Bernard A. Eckhart Mr. Percy B. Eckhart Mr. William O. Goodman Mr. E. T. Gundlach Mr. Charles L. Hutchinson Mrs. John E. Jenkins Mr. William V. Kelley Mr. R. P. Lamont Mr. Frank G. Logan Mr. Potter Palmer Mr. Julius Rosenwald Mr. Martin A. Ryerson Mr. E. F. Selz Mr. B. E. Sunny Mr. Harold H. Swift Mr. L. L. Valentine Mr. Charles H. Worcester Mr. Charles A. Munroe BOSTON, MASS. General Butler Ames Mrs. Oakes Ames Dr. Richard C. Cabot Mr. William A. Gaston Mr. John Singer Sargent Mr. Edward C. Storrow NEWARK, N. J. Mr. Joseph S. Isidor Mr. Louis Bamberger MONTCLAIR, N. J. Mrs. Henry Lang PHILADELPHIA, PA. Mr. Morris R. Bockius Mrs. Charles Heber Clark Mr. W. M. Elkins Mr. William P. Gest Mr. Samuel Rea Mrs. Edward T. Stotesbury HAZELTON, PA. Sis AURORA, ILLINOIS Mr. Alvan Markle, Jr. LOUIS, MO. Mr. William K. Bixby Mr. Edward A. Faust Mr. Edward Mallinckrodt Mr. Wallace D. Simmons Mr. Frederick G. Adamson Mr. James M. Cowan Captain J. F. Harral Mr. David B. Piersen Mr. Albert M. Snook | Mr. Wiley W. Stephens . WASHINGTON, D. C. Mr. Charles C. Glover Mr. James E. Parmelee NASHVILLE, TENN. Major E. B. Stahlman INDIANAPOLIS, IND. Mrs. John N. Carey Friends of American Art Miss Lucy M. Taggart Mrs. Thomas Taggart Mrs. H. B. Burnet ROCKFORD, ILLINOIS Mrs. William Hinchliff Mrs. D. M. Keith Mrs. George D. Roper Dr. Louis A. Shultz AKRON, OHIO Mr. Edwin C. Shaw MILLBROOK, N. Y. Mrs. Walter S. Beck MINNEAPOLIS, MINN. Wire tele. Carpenter. Mr. John R. VanDerlip JOLIET, ILLINOIS Mr. Theodore Gerlach BUFFALO, N. Y. Mr. Charles Clifton KEWANEE, ILLINOIS Mr. W. H. Lyman KANSAS CITY, MO. Mr. Albert R. Jones NORFOLK, VIRGINIA Mrs. William Sloane LOS ANGELES, CALIFORNIA Mr. Paul R. Mabury DUBUQUE, IOWA Mr. W. H. Klauer PITTSBURGH, PA. Miss Helen C. Frick Mr. Howard Heinz CLEVELAND, OHIO Mr. Salmon P. Halle Mr. Samuel Mather Mr. ‘J: H. Wade DETROIT, MICHIGAN Mr. Edsel B. Ford Mr. Richard H. Webber ROCHESTER, N. Y. Mr. George Eastman MILWAUKEE, WISC. Mr. Ernest Copeland Mr. William H. Schuchardt Mr. Walter W. Lange DAYTON, OHIO Mr. J. B. Hayward BALTIMORE, MD. Mr. Van Lear Black DULUTH, MINN. Mr. George P. Tweed CANTON, OHIO Mr. Wendell Herbruck Mr. William S. Kinney ATLANTA, GEORGIA Mr. J. J. Haverty DENVER, COLORADO Mrs. Junius Flagg Brown SAN FRANCISCO, CALIF. Mr. Templeton Crocker MOLINE, ILLINOIS Mrs. Burton F. Peek ST. PAUL, MINN. Mr. Louis W. Hill TOLEDO, OHIO Mr. Edward Drummond Libbey STOCKHOLM, SWEDEN | Honorable Robert Woods Bliss BROOKLYN, N. Y. Mr. John Hill Morgan WHIDBY ISLAND, WASHINGTON Mr. Frank J. Pratt, Jr. |] 5 Fr PAINTER MEMBERS Mr. John Singer Sargent Mr. Charles W. Hawthorne Mr. Chauncey F. Ryder Mr. Frank W. Benson Mr. Edwin Blashfield Mr. W. Elmer Schofield Mr. Oliver Dennett Grover Mr. Edmund Greacen Miss Helen Turner Mr. Gardner Symons Mr. Ezra Winter Mr. Irving R. Wiles Mr. John C. Johansen M. Jean McLane Mr. Daniel Garber Mr. R. Sloan Bredin Mr. Elliott Daingerfield Miss Felicie Waldo Howell Mr. Ernest Ipsen Mr. Murray P. Bewley Mr. Francis C. Jones Mr. Harry Watrous Mr. George Elmer Browne Mr. Edward H. Potthast Mr. Albert Groll Mr. Frederick J. Waugh Mr. Ralph Clarkson Mr. Leopold Seyffert Mr. John Sloan Miss Cecilia Beaux Mr. Roy Brown Mr. E. Irving Couse Miss Lillian Genth Mr. Douglas Volk Mr. G. Glenn Newell Mr. Charles Warren Eaton Mr. Harry A. Vincent Mr. Victor Higgins Mr. Leon Gaspard Mr. Wilson Irvine Mr. Charles H. Woodbury Mr. George H. Hallowell Mr. Frederick Ballard Williams Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr Mr . Birge Harrison . H. Dudley Murphy . Karl Anderson . Leslie P. Thompson . Charles Hopkinson ePhilip liHale s. Lilian Westcott Hale . Cullen Yates . Ernest L. Blumenschein . Guy Wiggins . William Wendt . Ivan G. Olinsky . Henry W. Parton . Robert W. Chanler . Walter Ufer . Edward C. Volkert . Hobart Nichols . Alson Skinner Clark . Max Bohm (deceased) . Henry R. Rittenberg . Eugene F. Savage . John Noble Miss: Anna Fisher . John R. Folinsbee . Karl A. Buehr . Van Dearing Perrine . William Baxter Closson . Albert Sterner . Charles H. Davis . Paul Dougherty Mr. Ben Foster Mr. Charles S. Chapman . Louis Ritman . Putnam Brinley . Charles Morris Young . Wayman Adams . John F. Carlson . Henry B. Snell . Hugh Breckenridge . Paul King . Henry O. Tanner . Horatio Walker PAINTER MEMBERS Mr. Louis C. Tiffany Mr. Joseph Pennell Mr. F. C. Frieseke Mr. Frederic M. Grant Mr. Carl Krafft Mr. Francis Newton Mr. Julius Rolshoven Miss Pauline Palmer Mr. John Costigan Mr. Clark Voohrees Mr. H. Bolton Jones Miss Gertrude Fiske Mr. Maurice Fromkes Mr. Percival Rosseau Mr. F. Luis Mora Mr. Leonard Ochtman Miss Dorothy Ochtman Mr. Arthur Crisp Mr. Richard E. Miller Mr. Paul M. Gustin Mr. James R. Hopkins Mr. Edward W. Redfield Mr. Randall Davey Mr. Ettore Caser Mr. Nicolai Fechin Mrs. James W. Hailman Mr. A. H. Gorson Mr. Eugene Higgins Mr. Ossip Linde Mr. Robert Reid SCULPTOR MEMBERS Mr. Herbert Adams Mr. Robert Aitken Mr. Daniel Chester French Mrs. Anna Hyatt Huntington Miss Malvina Hoffman Mr. Chester Beach Mr. Frederick MacMonnies Mrs. Evelyn B. Longman Batchelder Mr. James E. Fraser Mr. Lorado Taft Mr. Sherry Fry Mr. Edward McCartan Mr. Cyrus E. Dallin Mrs. Bessie Potter Vonnoh Mr. Attilio Piccirilli Miss Janet Scudder Mrs. Laura Gardin Fraser Mr. Albin Polasek Miss Harriet W. Frishmuth Mr. Mario Korbel Mr. Mahonri Young Mr. John Gregory Mr. Victor Salvatore Miss Renee Prahar Mr. Gutzon Borglum Mr. Paul Jennewein Mr. R. Tait McKenzie Mr. Edward Berge Mrs. Lucy Perkins Ripley Mrs. Anna Coleman Ladd Mr. A. Phimister Proctor Mr. Arthur Putnam Mr. Henry K. Bush-Brown Mrs. Edith Barretto Parsons Mrs. Margaret French Cresson Miss Grace Mott Johnson cAn Appreciation N EXHIBITION of the works of Mr. John Sargent is the most im- portant event of the kind that could at this moment happen anywhere, as he is the foremost living painter in the world. So far as one can judge the work of a contemporary, one is justified in predicting immortality for these composi- tions. Sargent belongs among the great portrait painters of all time, his pictures revealing the mysterious but unmistak- able stamp of genius. In fact, everything he does shows this quality, which makes his painting the envy of competitors, and the pride and glory of American art. He has no successful living rival, but is in a class by himself. So true is this, that if I were asked to name the greatest living American, I should unhesitatingly name John Singer Sargent. This Exhibition is for the benefit of the Endowment Fund of the Painters and Sculptors Gallery Association, with which Mr. Sargent has from the beginning been in active cooperation. William Lyon Phelps Masters of American “Paintings” Charles Caffin Courtesy of Doubleday Page & Company, 1902 “JOHN Singer Sargent has been a favored child of the Muses, and early reached a maturity for which others have to labour long and in the face of disappoint- ments. He, however, has never had anything to unlearn. From the first he came under the influence of taste and style, the qualities which to this day distin- Guism his work. . . +. With a facility that was partly a natural gift, partly the result of a steady acceptance of the problems presented, he proceeded to absorb his master—Carolus-Duran. Sargent absorbed his breadth of picturesque style, his refined pictorial sense, his sound and scientific method, not devoid of certain tricks of illusion and his piquant and persuasive modernity. ... . Later, Sargent visited Madrid, and came under the direct spell of Velasquez. The grand line he had learned while a boy, and from Carolus the seeing of colour as coloured light, the modelling in planes, the mysteries of sharp and vanishing outlines appearing and reappearing under the natural action of light, a realism of observation at once brilliant and refined, large and penetrating. Finally, from all these influences, Sargent has fashioned a method of his own. “How shall one describe the method? It reveals the alertness and versatility of the American temperament. Nothing escapes his observation, up to a certain point at least; he is never tired of a fresh experiment; never repeats his composi- tions and schemes of colour, nor shows perfunctoriness or weariness of brush. In all his work there is a vivid meaningfulness; in his portraits, especially, an amazing suggestion of actuality. On the other hand, his virtuosity 1s largely French, reach- ing a perfection of assurance that the quick witted American i is, for the most part, in too great a hurry to acquire; a patient perfection, not reliant upon mere impression or force of temperament. In the abounding resourcefulness of his method there is a mingling of audacity and conscientiousness; a facility so complete that the acts of perception and of execution seem identical, and an honesty that does not shrink from admitting that such and such a point was unattainable by him, or that to have obtained it would have disturbed the balance of the whole. Yet, this vir- tuosity, though it is French in character, is free of the French manner, as “indeed of any mannerism. This skill of hand is at the service of a brilliant pictorial sense. Like a true painter, he sees a picture in everything he studies. It gives to each of his canvases a distinct aesthetic charm; grandiose in some, ravishingly elegant in others, delicately quaint in a few, but all of them variously characterized by grandeur of line, suppleness of arrangement, and fascinating surprise of detail; used with extraordinary originality, but always conformable to an instinctive sense of balance and rhythm. “Sargent is not of the world in which he plays so conspicuous a part, but pre- serves an aloofness from it and studies it with the collectedness of an onlooker interested in the moving show and in its general trends of motive, but with an individual sympathy only occasionally elicited. Sargent has his grip upon the actual, and while in relation to the world and people about him he is almost a recluse, he has delighted his imagination with the seemings and shows of things and with their material significance.” Modern Artists Christian Brinton Courtesy of Doubleday Page & Company—The Sun, 1908 a EYOND all question Sargent is the most conspicuous of living portrait painters. Before his eyes pass in continuous procession the world of art, science, and letters, the world financial, diplomatic, or military, and the world frankly social. To-day comes a savant, a captain of industry, or a slender, troubled child. Tomorrow it will be an insinuating Semetic Plutus; next week may bring some fresh-tinted Diana, radiant with vernal bloom. Everyone from poet to general, from duchess to dark-eyed dancer, finds place in this shifting throng...... “With the entrance of Sargent into the arena of art cherished conventions disappear in sorry discomfiture. With a dignity and a technical mastery which compel both respect and enthusiasm he tramples upon tradition whenever tradition stands in his way. It 1s useless to scan these canvases in the hope of finding vari- ous qualities which for centuries have been deemed the touchstone of portraiture. Contemplation and reflection are by no means the rule. That adjustment of diverse elements which makes for balanced composition is often lacking. That endearing love of tone for its own sake is frequently absent. The vigorous outline of Holbein, the rich sobriety of Titian, or the permeating magic of Leonardo find but faint echo in the work of this modern innovator. With almost disdainful independence he has declined to repeat the triumphs of the great forerunners. In place of their ideals he has substituted ideals which are resolutely his own. However you may re- gard his contribution, it is impossible not to recognize its insistent novelty. Once in possession of the underlying facts, there should be no trouble in reading aright the salient, positive art, this art which by turns persuades and repels. Yet one cannot de- vine just why these high- bred women are so animated, or why the soldiers and states- men are so emphatic, without first peering beneath the exterior. Though Sargent may himself remain dexterously on the surface, the spectator cannot. It is not enough to watch this conjurer perform his trick; we must see how it is accomplished. “So dazzled has the majority been by what is called the man’s cosmopolitan- ism that the real racial basis of his nature has been over-looked........ Sargent is American in his fundamental instincts. His adaptability and his very lack of marked bias bespeak the native complexity of his origin. It cannot for a moment be maintained that the French paint themselves as Sargent paints them, or the English either. His art is neither Gallic nor British, it is American, and the chief reason why it is so different from most Anglo-Saxon art 1s because it 1s so superior, not because it is unAmerican. In any case the sense of motion remains Sargent’s personal conquest, possibly, even, his chief contribution to portraiture. “In Sargent’s portraits women are in the act of starting from their chairs and men are on the very point of speaking. Here is a dancer whose yellow skirt still swirls in elastic convolutions; there stands a painter lunging at the canvas with sensitively poised brush. All is restless, vivid, spontaneous. One and all these creatures vibrate with the nervous tension of the age. Other artists have given calm, or momentarily arrested motion. Sargent gives motion itself. With a technique facile as it is assertive this magician of the palette, this paganini of portraiture, has lured us into a new world, a world which we ourselves know well —perhaps too well—but a world hitherto undiscovered by painting.’ «| 10 | eArt and Common Sense By Royal Cortizzoz Courtesy of Scribner & Son, 1913 sympathetic to new ideas, but not at all inhospitable to old ones. While he emerged from his master’s studio a modern in the best sense of the term, it was with a vein of conservatism in him which has never disappeared. Of how many modern painters, endowed, as he has been, superabundant technical bril- liance, could it be said that they have never exceeded a certain limit of audacity? I know of no canvas of his which could fairly be called sensational. One of the least conventional of painters, his art nevertheless remains adjusted to the tone and movement of the world in which he lives—surely a fine example of genius expressing its age. “People complain that Sargent violates the secret recesses of human vanity, and brings hidden, because unlovely, traits out into the light of day; that his candor with the brush is startling, to say the least, and sometimes even perilous. He is accused not simply of painting his sitter, ‘wart and all,’ but of exaggerating the physical or moral disfigurement. If this is true there is ” something humorous in the spectacle, which is constantly being presented, of men and women running Reerisk 2 sae. Few of his sitters, seem, as we see them on the canvas, to have been passive in his hands. The electric currents of a duel are in the air. Char- acter has thrown down its challenge, the painter has taken it up, and the result is a work in which character is fused with design, playing its part in the artistic unit as powerfully, and almost as vividly, as any one of the tangible facts of the portrait. “In the light of the long procession of portraits which he has put to his credit, it seems to me that if there is a living painter in whose interpretations of character confidence can be placed, it is Sargent. His range is apparently unlimited. He has painted men and women in their prime and in their old age, and in whatever walk of life he has found them, he has apprehended them with the ‘seeing eye’ thamisshalf*the battle........ It is worth noticing that it is not his portraits of men, but in his portraits of women, who illustrate far more histrionically the ner- vous tension of the age, that Sargent has painted his most unconventional com- positions. When his subject has permitted him to exchange nervousness for repose, with what felicity he has seized his opportunity! There is not in modern portraiture a more satisfactory study in dignity and noble stateliness than his ‘Mrs. Marquand.’ (Shown in this exhibition) “Sargent is himself in his reading of character in his design, and in his style. To say this is not to forget his indebtedness, where style is concerned, to other painters, even, Carolus-Duran. I think there is something of Carolus-Duran in his mere cleverness which like so much that is fluent and self- possessed in modern craftsmanship, could have been developed in Paris and nowhere else. The broad slashing stroke of Hals has taught him something, it is fair to assume; and the influence of Velasquez in his work is sufficiently obvious. Yet there is not in all his painting the ghost of what it would be reasonable to call an imitative passage. He is no more a modern Hals or Velasquez than he is a modern Rembrandt or Botticelli, for he looks at life and art from a totally different point of view, not simply, or grandly, or tragically, or imaginatively, but with the detached intellec- tual curiosity of a man of the world.” Gone studying under the wing of Carolus-Duran, was in an atmosphere «| iat k cAmerican Painting and Its Traditions John Van Dyke Courtesy of Scribner & Sons, 1919 s ARGENT did not wholly achieve art, for some of it was born to him, and some of it, perhaps, was thrust upon him. Training started him right, but his great success is not wholly due to that. Genius alone can account for the remarkable content of his work. “Sargent’s life has been the result of peculiar circumstances—fortunate cir- cumstances some may think; unfortunate others may hold. At least they have been instrumental in bringing forth an accomplished painter whose art no one can failto admire. That his work may be admired understandingly it is quite necessary to comprehend the personality of the artist—to understand his education, his associations, his artistic and social environments. For if the man himself is cosmo- politan his art is not less so. It is the perfection of world-style, the finality of method. “Tf I apprehend Sargent rightly, such theory of art as he possesses is founded in observation. Some fifteen years ago, in Gibraltar, at the old Cecil Hotel, I was dining with him. That night, as a very unusual thing, Sargent talked about painting—talked of his own volition. He suggested his theory of art in a single sentence: ‘You see things that way’ (pointing slightly to the left) ‘and I see them this way’ (pointing slightly to the right). He seemed to think that would account for the variation or peculiari i sonal method—there was little more to art. Such a theory would place him in measured agreement with Henry James whose definition of art has been quoted many times: “Art is a point of view, and a genius a way of looking at things.’ “A painter who has been looking at human heads for many years sees more than the man who casually looks up to recognize an acquaintance on the street. I do not mean that he sees more ‘character’—that is more scholarship or conceit, or pride of purse or firmness of will or shrewdness of thought, but merely that he sees the physical conformation more completely than others do. Every one sooner or later moulds his own face. It becomes marked or set or shaped in response to continued methods of thinking and acting. When that face comes under the por- trait painter’s eye, he does not see the scholar, the banker, the senator, the captain of industry; but he does see perhaps, certain depression of the cheek or lines about the eyes or mouth in contractions of the lips or protrusions of the brow or jaw that appeal to him strongly because they are cast in shadow or thrown up sharply in relief of light. These surface features he paints perhaps with more emphasis than they possess in the original because they appeal to him emphatically, and presently the peculiar look that indicates the character of the man appears. What the look may indicate, or what kind of phase of character may be read in or out of the look, the portrait-painter does not know or care. ,He paints what he sees and has as little discernment of a character as of a mind. He gives, perhaps, without knowing their meaning, certain protrusions and recessions of the surface before him and lets the result tell what it may. In the production of the portrait accurate observation is more than half the battle. Ifa painter sees and knows his subject thoroughly, he will have little trouble in telling what he sees and knows; and to say of Sargent that he observes rightly and records truly is to state the case in a sentence.” «| 12 al ste) 1 ed) 14 15 16 ay 18 19 OIL PAINTINGS Portrait of Mrs. H. F. Happen (1878). Loaned by Mrs. Hadden Tue Lapy wirH THE RoseE—My SISTER (1882). Loaned by Mrs. Hadden “Pointy” (1884). Loaned by Mrs. Hadden THE Stmpton. Loaned by Mrs. Montgomery Sears Portrait of Mayor Hiccinson Loaned by Harvard University Portrait of Ex-Prestpent CHartes W. Evior of Harvard University Portrait of PresipEnr Lowe... Loaned by Harvard University Lake O'Hara. Loaned by Fogg Art Museum Portrait of Miss Mary EvizaBetH GARRETT. Loaned by Fohns Hopkins University Portrait of Mrs. J. Wiritttam Waitre. Loaned by Mrs. White Portrait of Mrs. Fiske WarREN AND Daucuter. Loaned by Fiske Warren, Esq. Portrait of Mrs. Enpicorr. Loaned by Mr. Wm. C. Endicott, Fr. Portrait of Mrs. Witit1am Harritey Car- NEGIE. Loaned by Mrs. Endicott Hts Srupio. Loaned by Museum of Fine Arts, Boston THE Roapv. Loaned by Museum of Fine Arts, Boston Master AND Pupits. Loaned by Museum of Fine Arts, Boston Heap or JosepH JEFFERSON. Loaned by Mr. Sargent RECONNOITERING. Loaned by Mr. Sargent Portrait of JosEpH Putirzer, Esa. Loaned by Mrs. Pulitzer 20 35 36 37 38 Portrait of Mrs. Epwarp L. Davis anp HER Son, Livineston Davis. Mr. Livingston Davis, Boston Loaned by Portrair or Aa Lapy. Loaned by Mr. Augustus P. Loring Portrait of Mrs. Aucusrus Hemenway. Loaned by Mrs. Hemenway Portrait of Eowarp Rosinson, Esa. Loaned by Mr. Robinson Ecyprian Girt Syrian Goats SPANISH STABLE Camp Fire. Fox Loaned by Mr. Thomas A. Rosert Louis STEVENSON. Payne Whitney Loaned by Mrs. Portrait of Joun Hay, Esa. Loaned by Mr. Clarence L. Hay Portrait of Miss Apa REHAN. Mrs. G. M. Whitin Loaned by Portrait of Mr. anp Mrs. Fietp. Loaned by Pennsylvania Academy of Fine Arts Portrait of Mrs. CuHaries E. Loaned by Mrs. Inches, Boston INCHES. Portrait of Mrs. Aprian Iseiin. Loaned by Miss Iselin THe Honorasrte Mrs. FREDERICK GUEST. Loaned by Mrs. Phipps Portrait of Mrs. Puipps anp WINSTON. Loaned by Mrs. Phipps Woop. Portrait of GENERAL LEONARD Loaned by General Wood THE SutpHuR Marcu. Loaned by Mr. Louis Curtis Sketch of Epwin Booru. Loaned by Mrs. Willard Straight | 13 & 39 40 41 45 Portrait of Homer Saint-GAuDENS OIL PAINTINGS A SrTREET IN VENICE. Stanford White Loaned by Mrs. CYPRESSES AND PINES. Gallery Loaned by Copley Portrait of Mrs. Henry WuitrE — NEE MarGAarRET STUYVESANT RUTHERFORD. Loaned by Honorable Henry White Sketch of Mrs. Henry WuirE — NEE MarGARET STUYVESANT RUTHERFORD. Loaned by Honorable Henry White Portrait of Mrs. Joun J. CHAPMAN. by Mrs. Richard Aldrich VENETIAN INTERIOR. Institute Loaned by Carnegie AND MorHer. Loaned by Mrs. Saint-Gau- dens GRAVEYARD IN TYROL. Treat Paine, 2nd Loaned by Robert MusseEL GATHERERS. roll Beckwith Loaned by Mrs. Car- Tue FountaIn. Chicago Loaned by Art Institute of 60 THe CuHess Game. tral Art Galleries Loaned~ 49 57 Portrait of Mrs. 58 Portrait of Mr. ann Mrs. sg Portrait of Mrs. Maraquanp. Portrait of Mrs. CuHarvtes GirrorD Dyer. Loaned by Art Institute of Chicago Portrait of Mrs. THomas Lincotn Manson. Loaned by Mrs. Kiliaen Van Rensselaer MoortsH Courtyarp. Loaned by Mr. Fames H. Clarke VENETIAN BeEapD StrinGERS. Loaned by the Buffalo Fine Arts Academy InTERIOR— THE CONFESSION. Mr. Desmond Fitzgerald Loaned by Portrait of Miss KATHARINE Pratr. Loaned by Mr. Frederick S. Pratt Portrait of Mrs. Epwarp D. BRANDEGEE. Loaned by Mr. Brandegee Portrait of Perer CHarpon Brooks, Esa. Loaned by Mrs. R. M. Saltonstall Dave H. Morris as A Girt. Loaned by Mrs. Morris I, N. PHeEtps Loaned by Mr. Phelps Stokes STOKES. Loaned by Mr. Allan Marquand Property of Grand Cen- WATER COLORS 67 Pats SHapy Patus—Vizcaya Boats at ANCHOR DERELICTS THE Poot Muppy ALLIGATORS 68 69 7° al Tue Basin—VIzcaya Tue Locc1a—VIzcayYya Tae BarHers THe TERRACE—VIZCAYA Tue Patio—ViIzcava Loaned by Worcester Art Museum 9? Tue Mist. Loaned by Mrs. Ff. D. Blanchard Loaned by Mrs. Inches, Boston 41 Portrait of Mrs. Henry WsirE—NEE MarGAReET Loaned by STUYVESANT RUTHERFORD Honorable Henry White “J 16 f 11 Portrait of Mrs. Fiske WARREN AND DAUGHTER Loaned by Fiske Warren, Esq. iby fe 31 Portrait of Mr. anp Mrs. FIELD Loaned by Pennsylvania Academy of Fine Arts Portrait of Miss Mary ExizaBeTH GARRETT Loaned by Fohns Hopkins University «] 19 F 7 Portrait of PResipentT LowELi Loaned by Harvard University 3 @ ‘ z 4 6 Portrait of Ex-Prestpent Cuaries W. ELtort, ForMERLY OF Harvarp UNIVERSITY “| Zi F Loaned by Harvard University Phelps Stokes Loaned by Mr. PHELPS STOKES N . I f Mr. anv Mrs. The ) 58 Portra 2 Tue Lapy witrH THE Rose—My Sister (1882) Loaned by Mrs. Hadden | DR ic 5 Portrait of Major Hiccinson Loaned by Harvard University Loaned by Mr. Alan Marquand 33. Portrait of Mrs. Aprran IseELIN Loaned by Miss Iselin 30 «Portrait of Miss Apa REHAN Loaned by Mrs. G. M. Whitin 29 Portrait of Joun Hay, Esa. Loaned by Mr. Cicrence L. Hay 1Le Loaned by Mrs. Wh WILLIAM WHITE yi f Mrs. 1t o fos) u =) u ° a 29 & Portrait of Mrs. THomas Lincotn Manson Loaned by Mrs. Kiliaen Van Rensselaer 22 Sketch of Mrs. Aucustus HEMENWay Loaned by Mrs. Hemenway 1UIaBAVS “AY &q pauvoT ONIYALIONNOOAY Bl unasny j4p 8807 kg pauvoT VUVH,O IAVT «8 Loaned by ° Coal Q =) B WY) Nn il a 14 Museum of Fine Arts, Boston 2440, HH saul, AN Aq PIuv0O'T GUVALUNOT HSINOOJ] 1S 17 Heap or JOSEPH JEFFERSON Loaned by Mr. Sargent a sm 19 Portrait of JosepH Putirzer, Esa. trait of GENERAL LeEonarp Woop Loaned by cee ae General Wood Loaned by Mrs. Hadden 1 Portrait of Mrs. H. F. Happen (1878) Loaned by Mrs. Phipps Be Nn fx) =) io) mM ©) HH [4 we A [sa] 4 oy a 5 [ea) 4 FQ qt 4 [e) Z ° eo fy = Ee + ise) Loaned by Mr. Robinson 42 Sketch of Mrs. Henry WuirE—NEE MARGARET Loaned by STUYVESANT RUTHERFORD Honorable Henry White 45 Portrait of Homer Saint-GaupEns AND MoTHER Loaned by Mrs. Saint-Gaudens J 43 |» Loaned by Mrs. Phipps Portrait of Mrs. Epwarp L. Davis anp_HER Son, Loaned by Livincston Davis Mr. Livingston Davis, Boston “] 45 F 43 Portrait of Mrs. Joun J. CHapMan Loaned by Mrs. Richard Aldrich —ntere 37 Tue SutpHur Marcu Loaned by Mr. Louis Curtts «J 47 |e Facts Concerning This Exhibition N bringing together this retrospective exhibi- tion of Mr. John Sargent’s important works in this country, we feel that we are rendering a service to the American people. It is unquestionably the most important and most valuable collection ever assembled by a Living Artist, and it is interesting to note that the insur- ance policy placed on the collection amounts to nearly a million dollars. The Grand Central Art Galleries is a no profit organization and its efforts are dedicated solely to the interests of the living American Artists.” Mr. John Singer Sargent has personally selected and approved all of the paintings in this exhibition and in choosing this Gallery he has greatly honored this organization. An Invitation granting free admission to the ex- hibition to Art Students is being sent to all of the leading Art Schools; an admission charge to all others, to defray the cost of the exhibition, will be made. FRAMES designed by M. GRIEVE COMPANY 155 EAST FORTY-SECOND ST., NEW YORK Branch: LONDON, ENGLAND Specialists Importers of eel Genuine Anti Framing eae Gilt Carved of Wood Old Master Paintin g Pictures Frames Pat. 3215 Italian 16th Century Pat. 3014 Flemish Gothic 16th Century Address After May Ist, 1924: 234 East 59th Street | 49 FRAMES designed by M. GRIEVE COMPANY 155 EAST FORTY-SECOND ST., NEW YORK Branch: LONDON, ENGLAND Pat. 1877 Spanish 18th Century Pat. 3455 Spanish 16th Century Pat. 3095 Spanish 16th Century Pat. 1751 Spanish 17th Century Address After May Ist, 1924 234 East 59th Street | 50 & Two Centuries of Frame Making In the year 1721 in a small Flemish village lived Grieve, a famous maker of masterful picture frames; whose sole ambition was to please the tastes of the great painters of his time. The best mid-eighteenth century frames were made by him and his disciples. Grieve was the first to conceive the possibilities in his chosen field and to realize that a painting to be rightly appreciated had to be surrounded by a frame chosen artistically and with due regard to the effect of the painting on the spectator and of the whole as a work of art. Neither chance nor fashion entered into their construction. On the contrary, they were the result of a distinctive aesthetic sentiment for the beautiful in conjunction with an almost scientific appreciation of what would enhance the intelligent understanding of the picture. The demand at that time was so insistent that Grieve was obliged to teach the tedious task of gilding and wood-carving to the members of his immediate family; from that moment began this great family of frame makers. Not content with their conquest in Belgium, the Grieves moved to London, which offered them a larger opportunity, and established there a still more progressive branch of the parent institution. As is the case with all progressives, they were constantly on the watch for new fields to conquer and as America seemed particularly inviting, M. Grieve the youngest of the family, moved to New York and established the largest hand-carved wood frame factory in the world. The Grieve of old still lives, and the sacred flame which he kindled 1s still kept burning by the single American representative of this great family of frame makers. The American Grieve has progressed with the times. He has revolution- ized the ancient art of his forefathers to conform with the demands of modern times; he has perfected a method of manufacturing through quantity pro- duction the same quality of art frames which the Grieves before him carved out laboriously at considerable expense. That the GRIEVE Frame adds quality to your picture 1s a fact which 1s recognized by the foremost Art Dealers and Painters in this Country. Importers of Genuine Antique Gilt Carved Wood Painting Frames Specialists in the Framing of Old Master Pictures Address After May Ist, 1924: 234 East 59th Street ‘| 51 ie Macbeth Gallery 15 East Fifth-seventh Street e Founded in 1892 for the Exhibition and Sale of Paintings by American Artists 7 “ART NOTES” and Catalogues of Exhibitions mailed on request e William Macbeth LNcG.OcR PO RoAvISE.D | 52 EF Painted by G. Morland FOX HUNTING Engraved by E. Bell KENNEDY & CO., 693 FIFTH AVENUE, NEW YORK (Successors to H. Wunderlich & Co.) FINE OLD ENGLISH COLOR PRINTS OF SPORTING, HUNTING, SHOOTING and NAVAL SUBJECTS RARE cAMERICAN HISTORICAL PRINTS FINE ETCHINGS BY OLD AND MODERN MASTERS Important Exhibition WATER COLOR DRAWINGS By FRANK W. BENSON and RARE TRIAL PROOFS OF HIS ETCHINGS AND DRY-POINTS «| 53 FE DURAND-RUEL “Paintings PARIS NEW YORK 16 RUE LAFFITTE 12 EAST 57TH STREET JOHN LEVY GALLERIES “Paintings 559 FIFTH AVENUE 28 PLACE VENDOME PARIS GORHAM Bronzes by American Sculptors Large and Small Pieces cast of the finest material in the Gorham Foun- dries, and exhibited at the Gorham Galleries FIFTH AVENUE AND 36th STREET NEW YORK «| 55 ic EARLY CHINESE ART ica ovoid-shaped Vase of light buff pottery, having its two loop handles at the base of the neck connected by a collar. The opalescent glaze of old turquoise-blue is minutely crackeled and encrusted with reddish earth. The lip, which has been broken, is encased in a copper band. The glaze completely covers the vase, including the base, which is slightly concave. The form of this jar is truly noble and the beauty of its glaze is impossible to describe. Persian influence on Chinese art is here especially noticeable, for this specimen might easily be taken for a fine piece of Rakka ware. Tang Dynasty: 618-906 A. D. Height: 13 inches. Greatest diameter: 10 inches. FarishWatson & Coin. 500 Fifth Avenue ew York Old Chinese Porcelains and Sculptures Archaic Chinese Bronzes and Jade Rare Persian Faience P. JACKSON HIGGS ELEVEN EAST FIFTY-FOURTH STREET, NEW YORK Morbo of At QS OLD MASTERS -:- RENAISSANCE BRONZES -:- TAPESTRIES GREEK AND ROMAN EXCAVATIONS NOW ON EXHIBITION CAmerican Representalive of’ THE BACHSTITZ GALLERY Holland The Charles Scribner’s Sons || ‘| Fifth Avenue, New York A Group of Notable Books on Art REMBRANDT AND HIS SCHOOL. By Prof. Jonn C. Van Dyxe. Limited to 1,200 copies $12.00 EDWIN AUSTIN ABBEY. The Record of His Life and Work. By E.V. Lucas. 200 illus. 2 vols. $30.00 AMERICAN ARTISTS. By Roya. Cortissoz. Illustrated $3.00 NEW GUIDES TO OLD MASTERS (The Galleries of Europe). By Prof. Joun C. VAN DyKE LONDON—National Gallery, Wallace Collection. $1.25. PARIS—Louvre. $1.25 AMSTERDAM—Rijks Museum; THE HAGUE—Royal Gallery; HAARLEM—Hals Museum. $1.25 ANTWERP—Royal Museum; BRUSSELS—Royal Museum. $1.25 MUNICH—Old Pinacothek; FRANKFORT —Staedel Institute; CASSEL—Royal Gallery. $1.25 BERLIN—Kaiser Friedrich Museum; DRESDEN—Royal Gallery. $1.25 VIENNA—Imperial Gallery; BUDAPEST—Museum of Fine Arts. $1.25 The Universal Art Series Th Each volume profusely illustrated € LANDSCAPE PAINTING. By C. Lewis Hinp $8.50 Scribner Bookstore Vol. I. From Giotto to Turner. MODERN MOVEMENTS IN PAINTING. By Cuartes Marriotr $7.50 DESIGN AND TRADITION. By Amos Fenn. $8.50 for Rare B ooks THE ART OF ILLUSTRATION. By E. J. Sutiivan $8.50 on the Fine Arts SCULPTURE OF TO-DAY. By KINETON ParKEs Vol I. America, Great Britain, Japan $8.50 Rare and unusual volumes on Amer- Vol. II. Continent of Europe $9.50 ican, English, Continental, and Ori- ental painters and paintings, such General History of Art Series as: Each volume is written by a representative authority and contains between THE WORK OF JOHN SINGER 500 and 600 illustrations, reproduced from carefully selected originals. SARGENT. With an imtroduc- $3.00 each tory note by AticE MEYNELL ART IN GREAT BRITAIN AND IRELAND. By Sir WaLtreR ARMSTRONG Bope’s COMPLETE WORK OF ART IN NORTHERN ITALY. By Dr. Corrapo Ricct1 REMBRANDT ART IN FRANCE. By G. Masprro ART IN FLANDERS. By M. Max Rooses Armstronc’s GAINSBOROUGH ART IN SPAIN AND PORTUGAL. By Marcer DiEuLaroy SIR JOSHUA REYNOLDS. By WALTER ARMSTRONG Classics of Art Series Petrucci, ENCYCLOPEDIE DE A library of art specially distinguished by profuseness and completeness of illus- LA PEINTURE CHINOISE tration, in full-page plates. Micuet, HISTOIRE DE L’ART CHARDIN. By Hersert E. A. Furst. 45 plates $7.00 12 volumes DONATELLO. By Maup Crurtwe tt. 81 plates $6.25 FLORENTINE SCULPTORS OF THE RENAISSANCE. By Wr.- HELM Bope, Ph.D. $6.00 LAWRENCE. By Sir WALTER ARMSTRONG. 41 plates $6.50 MICHELANGELO. By Geratp S. Davies. 126 plates $7.50 RAPHAEL. By A. P. Oppre. 200 plates $7.50 REMBRANDT ETCHINGS. With 330 examples. By A. M. Hinp. 2 vols. $12.00 ROMNEY. By A. B. CHAMBERLAIN. 72 plates $7.00 TINTORETTO. By Evetyn Marcu Puittiipps. 61 plates $6.25 TITIAN. By Cuartes Ricketts. 181 plates $9.75 TURNER. By A. Finserc. 100 plates $6.00 VELASQUEZ. By A. pvr BerutTre. 94 plates $7.50 Contemporary British Artists Edited by ARTHUR RUTHERSTON Each volume with about 35 plates. $2.00 each GEORGE CLAUSEN PAUL NASH WILLIAM NICHOLSON AUGUSTUS JOHN WILLIAM ORPEN WILLIAM ROTHENSTEIN Two Books on Oriental Art JAPANESE COLOUR PRINTS Scribner Books at All Bookstores. By Laurence Binyon and J. J. O’BRIEN SEXTON AM Boake ae the Seribnee: Bookstore With 16 plates in color and 28 in balf-tone, illustrating more than 50 prints $25.00 AN INTRODUCTION TO THE STUDY OF CHINESE PAINTING By ArtuurR WALEY, Assistant in the British Museum. With 50 plates. $20.00 Fifth Avenue at Forty-eighth Street | 57 EF ARTISTS FRAMING CO.,, inc PICTURE FRAMES of HIGHEST QUALITY 57 East 59th St., J. LOWENBEIN, Pres. New York PLAZA 1680 t, game JEAN FRANCOIS GROLIER Master Printer of the Sixteenth Century (os the crude methods of printing used in the Sixteenth Century with the modern craft- manship which en- ables us to produce a book of this character. af Chelsea 8053-54 The Grolier Craft Press INCORPORATED 229 West 28th Street NEW) “Y O:R-Ke Citta “| 58 F We Buy Paintings Inness Thayer Wyant Robinson Martin Moran Homer L’Hermitte Fuller Israels Blakelock Corot Twachtman Dupre Weir Jacque Remington Diaz Ryder Daubigny Duveneck Rousseau Murphy Cazin AINSLIE GALLERIES 677 FIFTH AVENUE, NEW YORK ESTABLISHED 1885 CRICHTON tt. Goldsmiths and Silversmiths New York~ 636, Fifth Avenue (corner of 515t Street} Chicago~ 618 So. Michigan Avenue. RICHTON Reproductions made in London are faith- ful copies of classic patterns, which maintain the high ; > ) ; y standards of the Early English fe a. | oer Dy master silversmiths. Distin- . guished originals, in old English, Irish and Scottish Silver are included in the Crichton collection. FRENCH & COMPANY Works of cArt | 6 EAST 56TH STREET, NEW YORK ANTIQUE TAPESTRIES VELVETS EMBROIDERIES FURNITURE DECORATIONS Wayman Adams Gifford Beal George Bellows George De Forest Brush Bruce Crane Elliott Daingerfield Thomas W. Dewing Nicolai Fechin Leon Gaspard Albert Groll The Milch Galleries Dealers in American Paintings and Sculpture Childe Hassam Robert Henri Hobart Nichols Gari Melchers Willard L. Metcalf William Ritschel Eugene Speicher D. W. Tryon Horatio Walker Guy Wiggins F. Ballard Williams Max Bohm R. A. Blakelock Gedney Bunce Henry Golden Dearth Winslow Homer George Inness J. Francis Murphy Abbott H. Thayer John H. Twachtman J. Alden Weir A. H. Wyant 108 WEST 57th STREET, NEW YORK CITY Ehrich Galleries 707 Fifth Avenue At Fifty-fifth Street New York e Paintings by Old Masters PAINTINGS of DISTINCTION cAmerican and European DUDENSING GALLERIES 45 WEST 44TH STREET, NEW YORK eA IN. C-©-E IN MOTOR CARS Cabriolet De Luxe Body by Le Baron THE LINCOLN GALLERIES PARK AVENUE AT FORTY-SIXTH STREET PARK CENTRAL MOTORS, Inc. VANDERBILT 9761 MEMBER PARK AVENUE ASSOCIATION “SS he Sibayien of Wedding Corian Exclusive Gifts Miss E. A. Higgs Mrs. F. M. Carleton | i 21 East Fifty-fifth Street, New York | Peter A. Juley G Son Photographers of Fine Arts Since 1896 219 East 39** Street-New York City Telephone: Vanderbilt 3494 “ 64 - painted for the Steinway _ Collection BY Xe WYETH STEINWAY THE INSTRUMENT OF THE IMMORTALS CCASIONALLY the genius of man produces some masterpiece of art— a symphony,a book, a painting —of such surpassing greatness that for generation upon generation it stands as an ideal, unequaled and supreme. For more than three score years the position of the Steinway piano has been comparable to such a masterpiece—with this difference: A symphony, a book, a painting, once given to the world, stands forever as it is. But the Steinway, great as it was in Richard Wagner’s day, has grown greater still with each generation of the Steinway family. From Wagner, Liszt and Rubin- stein down through the years to Pade- rewski, Rachmaninoff and Hofmann, the Steinway has come to be “‘the Instrument of the Immortals” and the instrument of those who love immortal music. Steinway & Sons and their dealers have made it conveniently possible for music lovers to own a Steinway. Prices: $875 and up, plus freight at points distant from New York. STEINWAY & SONS, Steinway Hall, 109 E. 14th Street, New York THE RESTAURANT SURPRISE FAMILIAR TO THE CONTINENTAL TOURL/S T Wie) PAN 375 PARK AVENUE ENTRANCE 53:3 ST. NEW YORK Correct Lighting of Valuable Paintings Correct illumination is as necessary for the valuable painting in the home as for those in the great galleries. FRINK REFLECTORS are scientifically designed to fulfill this purpose. Each picture is treated according to its characteristic requirements. Frink Lighting is used in such prominent galleries as the Freer Memorial Art Galleries as well as in many private galleries. PPE RU NNK” Ibeve. 24th St. and 10th Ave., New York Branches in Principal Cities “J 66 F The paintings in this exhibit are insured under a Fine Arts Policy with the Automobile Insurance Company of Hartford, Conn. affiliated with Aetna Life Insurance Company Aetna Casualty and Surety Co. DeLANOY & DeLANOY INSURANCE TWO WALL STREET NEW YORK LAVEZZO & BRO. Inc. ‘DIRECT IMPORTERS OF ITALIAN ANTIQUE FURNITORESSAND WROUGHT IRON WORK 154 EAST 54th STREET NEW YORK ANTIQUE WORKS OF ART Furniture ‘Paintings Portrait painted in 1884 by “fohn S. Sargent KIRKHAM @ HALL 31 East 57th Street, New York WILLIAM KIRKHAM GLENN HALL Offering the American Masterpieces By Albert Pinkham Ryder Just transferred from the Metropolitan Museum of Art, New York Together with important works by A. B. Davies, J. Alden Weir, Frank Duveneck, H. G. Dearth, Theodore Robinson, John H. Twachtman, George Inness, Robert Spencer and famous sculptors. Exhibition of Works by Horatio Walker February 16th until March 4th, 1924 MESSRS. PRICE and RUSSELL 607 FIFTH AVENUE NEW YORK “FOREST OF ARDEN” By ALBERT P. RYDER From the A. T. Sanden Collection just acquired by Ferargil, Inc. PACKERS cA'ND MOVERS. OF VW OK ia CO reeet ae ESTABLISHED 1867 W. S. BUDWORTH & SON COLLECTING AND PACKING FOR Peal ART EXHIBITIONS A SPECIALTY FELEPHONE , COLUMSE OSes 2i924 424 West Fifty-Second Street New York City J 70 F ny wife WR pat ilar Seer e “Marie Sterner Albert Sterner Under the direction of Marie Sterner (Mrs. Albert Sterner) The Art Patrons of America, Inc. will hold an Exhibition of American Paintings in London, Paris and Venice during the coming season. Americans going abroad, it is hoped, will patronize this Exhibition. List of Patrons and other par- ticulars upon request to Mrs. Muriel Boardman, Twenty-Two West Forty-Ninth Street, New York City. Mrs. Wm. Payne Thompson, ‘President Mrs. Egerton L. Winthrop, ‘Uice President Mts. Muriel Boardman, Secretary Alaric Simson, Treasurer Marie Sterner, “Director INTERNATIONAL STUDIO | ————___—_—_————— PEYTON BOSWELL, Editor UST as a gallery exhibition of the finest Ameri- can painting and sculpture is an inspiration and a source of rich enjoyment, so International Studio is for its readers a monthly exhibition of the signifi- cant art of all the world. Quality alone limits its field; painting, sculpture, architecture, the decora- tive arts, all of these in their most beautiful forms, make it truly America’s greatest art magazine. $——_—_—_—— Published Monthly by 75 cents INTERNATIONAL STUDIO; INC eta the Copy 4g West 45th Street, New York the Year The ART NEWS An International Newspaper of Art PEYTON BOSWELL, Editor HIS periodical, unique of its kind in the world, is read by art lovers in scores of countries. It has subscribers in such distant lands as Japan, China, Siam, India, Aus- tralia, South Africa and Peru, and is especially looked upon as indispensable by art lovers of the United States, Canada, England and the Continent. Published Weekly from October 15 to ‘fune 30 Monthly during Fuly, August and September $4.00 a year. $4.35 in Canada 49 West 45th Street New York City ARLINGTON GALLERIES 274 MADISON AVENUE Established 1908 Thomas Sully George Inness A. H. Wyant Homer Martin Ralph Blakelock Robert Spencer Robert Reid Daniel Garber George Bellows CHARLES E. HENEY, PROP. Paintings of Quality by Bruce Crane Martha Walter Paul Cornoyer Gari Melchers Thos. Gainsborough le Ba @aGorot A. Schreyer Josef Israels Narcisse V. Diaz AND OTHER NOTED MASTERS CANVAS NEW YORK TEL. MURRAY HILL 3372 Jules Dupre Chas. Jacque H. W. Mesdag Martin Rico Alfred Stevens J. G. Vibert ecazin C. F. Daubigny ARS the Artist what could be of greater value than knowing the foundation for his work is secure ? Devoe Canvas is manufactured from the finest raw materials and prepared by experts who with their years of experience are capable of producing Canvas as nearly perfect as possible for human hands to make. We also manufacture Artists’ Oil Colors, Brushes and Materials to meet the demands of both Professional and Amateur. Devoe & Raynolds Co., Inc. New York Chicago EC KENT-COSTIKYAN FOUNDED 1886 485 FIFTH AVENUE—SIXTH FLOOR NEW YORK Opposite Public Library e IMPORTERS Antique and Modern Rugs from Persia, China, India and the Caucasus ev “Rugs woven to order in Orient Arden Studios, Inc. & Arden Gallery Mrs. James C. Rogerson 599 FIFTH AVENUE e Interior Furnishings and Decorations e Wood Paneling and Painting — Period Furnishings Hangings, Silks, Velvets, Cretonnes, Rugs, Carpets Original Treatment of Walls and Ceilings Painted Furniture from Exclusive Arden Designs e Interesting exhibitions bearing educationally upon Decorating and Furnishing are held at frequent intervals in Art Gallery Consultations with Mrs. Rogerson may be made by appointment ll 75 - REINHARDT GALEEBRIES Their New Address 730 Fifth Avenue Corner of 57th Street New York PAINTING: GROLIER (RAFT ‘PRESS, INC. NEW YORK | Qearls (ewe [s Ga rectous Sfones REI RE ReC™ 560 fifth Avenue New Yorke PALM BEACH annette Building ee frail ij ere See a re | “ =} \ =) WWE iff == 7 TTT I poe a _ | Seca ————— eee ese el See ae See M. KNOEDLER & CO. (ESTABLISHED 1846) High Class Paintings By Old and Modern Masters Select Water Color Drawings Old and Modern Etchings Old Engravings Old English Mezzotints and Sporting Prints Competent Restoring Artistic Framing LONDON PARIS _ 15 Old Bond Street ‘17 Place Vendome NEW YORK | 556-558 Fifth Avenue SCOTT & FOWLES cArt Galleries 667 FIFTH AVENUE Between 52nd and 53rd Streets NEW YORK CITY e “Paintings Drawings e BRONZES BY PAUL MANSHIP “LA