## The Project Gutenberg eBook of Retrospective exhibition of important works of John Singer Sargent, February 23rd to March 22nd, 1924

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

Author: Grand Central Art Galleries

Artist: John Singer Sargent

Photographer: Peter A. Juley & Son

Release date: May 21, 2023 [eBook #70823]

Language: English

Original publication: United States: Grand Central Art Galleries, 1924

Credits: Richard Tonsing and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK RETROSPECTIVE EXHIBITION OF IMPORTANT WORKS OF JOHN SINGER SARGENT, FEBRUARY 23RD TO MARCH 22ND, 1924 ***

Transcriber’s Note:

The cover image was created by the transcriber and is placed in the public domain.

John Singer Sargent

# RETROSPECTIVE EXHIBITION OF IMPORTANT WORKS
of
John Singer Sargent
FEBRUARY 23RD
to
MARCH 22ND
1924

❦
GRAND CENTRAL ART GALLERIES
GRAND CENTRAL TERMINAL
[TAXICAB ENTRANCE]
15 VANDERBILT AVENUE NEW YORK CITY

Copyright 1924 by Painters and Sculptors Gallery Association, Inc. All rights reserved for all countries. :: Printed in the United States of America. :: :: Photographs by Peter A. Juley & Son

2

## GRAND CENTRAL ART GALLERIES

15 Vanderbilt Avenue
New York City

### TRUSTEES

John G. Agar
Walter L. Clark
William A. Delano
Irving T. Bush
Robert W. DeForest
Walter S. Gifford
Frank G. Logan

### OFFICERS

President | Walter L. Clark
Vice President | Robert W. DeForest
Secretary and Treasurer | Walter S. Gifford

3

## FOREWORD

The Painters and Sculptors Association is a non-profit-bearing organization established solely to further interest in American Art, and to increase the sales of the work of the living American Painter and Sculptor. The Association is one of contributing artist members and subscribing lay-members, numbering about one hundred and fifty each. This membership is not local; the artists are from various regions extending from coast to coast, while the lay-group is composed of those interested in Art in all of the larger cities of the United States, and including Presidents and Vice-Presidents of ten of the great Museums, together with many officers and directors of these Institutions. There are representatives from New York, Boston, Philadelphia, Brooklyn, Rochester, Buffalo, Washington, D. C., Baltimore, Norfolk, Atlanta, Montclair, Newark, Cleveland, Canton, Dayton, Akron, Aurora, Chicago, Moline, Rockford, Joliet, Detroit, Milwaukee, Minneapolis, St. Louis, Kansas City, Denver, Los Angeles and San Francisco. This makes of the Painters and Sculptors Association a national organization in its extent and far-reaching in its interest. This makes it a clearing house and not merely a local sales place.

According to the plan of the organization of the Painters and Sculptors Association, each of the lay-members has pledged an annual subscription of six-hundred dollars for three years, thus providing for that period a subsidy. Each of the artist members presents to the association, as his membership fee, one of his works a year, for three years, this period having been agreed upon as a proper duration to test the practicability of the plan. At the end of the year each of the lay-members has the privilege of receiving one of the works of the Artist members.

Delano and Aldrich, architects, have designed and planned the Galleries, numbering at present fourteen. The galleries as they are now open to the public constitute the largest and handsomest salesrooms in either Europe or America, and there is no other place where the work of so many American artists can be seen or where the exhibit can constantly rotate and yet maintain its high standard of excellence. In the eleven months during which they have operated they have been visited by over 110,000 people. In this time it has been demonstrated conclusively that a sales place may partake of the excellence of standard, the beauty of installation, the atmosphere, the character, and the dignity of a modern museum and yet impart quite another form of message. Ownership, and the joy of possession, are the elements in the psychology of the Painters and Sculptors Association.

The Association is under the direction of seven men who are nationally known as business executives, and who contribute their time and experience absolutely without remuneration.

The sales during the past months have been most encouraging. A number of portrait commissions have been placed, while important paintings and bronzes were installed in leading museums.

The First Annual Exhibition, and several of the series of one-man exhibitions have been given and will be followed by more. Several out-of-town exhibitions have been held, when the number of sales was most flattering. Pictures were assembled and shipped from this gallery to Rome. Assistance was rendered the National Academy of Design, the Corcoran Biennial, and the Pennsylvania Academy of Fine Arts, The Art Institute of Chicago, and The Carnegie Institute at Pittsburgh in their exhibitions this season.

4

## LAY MEMBERS

### NEW YORK CITY

Mr. John G. Agar
Mr. Bartlett Arkell
Mrs. Harry Payne Bingham
Mr. John Mc E. Bowman
Mr. Irving T. Bush
Mr. Gale Carter
Mrs. Joseph H. Choate
Miss Mabel Choate
Mr. Walter L. Clark
Mr. Wm. H. Clarke
Mrs. Otto Kahn
Mr. L. A. Osborne
Mr. George Foster Peabody
Mrs. Willard Straight
Mr. H. B. Thayer
Mr. Hector W. Thomas
Mr. Louis C. Tiffany
Mrs. W. K. Vanderbilt
Mr. Felix Warburg
Mr. Paul Warburg
Mr. E. E. Bartlett
Mr. L. M. Boomer
Mrs. Clarkson Cowl
Mr. William A. Delano
Engineer’s Club
Mr. Victor Guinzburg
Mr. Henry W. Cannon
Mr. William H. Davis
Mr. Robert W. DeForest
Mr. Daniel Chester French
Mr. Henry J. Fuller
Mr. Walter S. Gifford
Mr. Joseph P. Grace
Mr. John R. Gregg
Mrs. E. H. Harriman
Mr. August Heckscher
Mr. Archer M. Huntington

### CHICAGO, ILL.

Mr. Albert Brunker
Mr. Edward B. Butler
Mr. R. T. Crane, Jr.
Mr. Bernard A. Eckhart
Mr. Percy B. Eckhart
Mr. William O. Goodman
Mr. E. T. Gundlach
Mr. Charles L. Hutchinson
Mrs. John E. Jenkins
Mr. William V. Kelley
Mr. R. P. Lamont
Mr. Frank G. Logan
Mr. Potter Palmer
Mr. Julius Rosenwald
Mr. Martin A. Ryerson
Mr. E. F. Selz
Mr. B. E. Sunny
Mr. Harold H. Swift
Mr. L. L. Valentine
Mr. Charles H. Worcester
Mr. Charles A. Munroe

### BOSTON, MASS.

General Butler Ames
Mrs. Oakes Ames
Dr. Richard C. Cabot
Mr. William A. Gaston
Mr. John Singer Sargent
Mr. Edward C. Storrow

### NEWARK, N. J.

Mr. Joseph S. Isidor
Mr. Louis Bamberger

### MONTCLAIR, N. J.

Mrs. Henry Lang

### PHILADELPHIA, PA.

Mr. Morris R. Bockius
Mrs. Charles Heber Clark
Mr. W. M. Elkins
Mr. William P. Gest
Mr. Samuel Rea
Mrs. Edward T. Stotesbury

### HAZELTON, PA.

Mr. Alvan Markle, Jr.

### ST. LOUIS, MO.

Mr. William K. Bixby
Mr. Edward A. Faust
Mr. Edward Mallinckrodt
Mr. Wallace D. Simmons

### AURORA, ILLINOIS

Mr. Frederick G. Adamson
Mr. James M. Cowan
Captain J. F. Harral
Mr. David B. Piersen
Mr. Albert M. Snook
Mr. Wiley W. Stephens
5

### WASHINGTON, D. C.

Mr. Charles C. Glover
Mr. James E. Parmelee

### NASHVILLE, TENN.

Major E. B. Stahlman

### INDIANAPOLIS, IND.

Mrs. John N. Carey
Friends of American Art
Miss Lucy M. Taggart
Mrs. Thomas Taggart
Mrs. H. B. Burnet

### ROCKFORD, ILLINOIS

Mrs. William Hinchliff
Mrs. D. M. Keith
Mrs. George D. Roper
Dr. Louis A. Shultz

### AKRON, OHIO

Mr. Edwin C. Shaw

### MILLBROOK, N. Y.

Mrs. Walter S. Beck

### MINNEAPOLIS, MINN.

Mr. E. L. Carpenter
Mr. John R. VanDerlip

### JOLIET, ILLINOIS

Mr. Theodore Gerlach

### BUFFALO, N. Y.

Mr. Charles Clifton

### KEWANEE, ILLINOIS

Mr. W. H. Lyman

### KANSAS CITY, MO.

Mr. Albert R. Jones

### NORFOLK, VIRGINIA

Mrs. William Sloane

### LOS ANGELES, CALIFORNIA

Mr. Paul R. Mabury

### DUBUQUE, IOWA

Mr. W. H. Klauer

### PITTSBURGH, PA.

Miss Helen C. Frick
Mr. Howard Heinz

### CLEVELAND, OHIO

Mr. Salmon P. Halle
Mr. Samuel Mather
Mr. J. H. Wade

### DETROIT, MICHIGAN

Mr. Edsel B. Ford
Mr. Richard H. Webber

### ROCHESTER, N. Y.

Mr. George Eastman

### MILWAUKEE, WISC.

Mr. Ernest Copeland
Mr. William H. Schuchardt
Mr. Walter W. Lange

### DAYTON, OHIO

Mr. J. B. Hayward

### BALTIMORE, MD.

Mr. Van Lear Black

### DULUTH, MINN.

Mr. George P. Tweed

### CANTON, OHIO

Mr. Wendell Herbruck
Mr. William S. Kinney

### ATLANTA, GEORGIA

Mr. J. J. Haverty

### DENVER, COLORADO

Mrs. Junius Flagg Brown

### SAN FRANCISCO, CALIF.

Mr. Templeton Crocker

### MOLINE, ILLINOIS

Mrs. Burton F. Peek

### ST. PAUL, MINN.

Mr. Louis W. Hill

### TOLEDO, OHIO

Mr. Edward Drummond Libbey

### STOCKHOLM, SWEDEN

Honorable Robert Woods Bliss

### BROOKLYN, N. Y.

Mr. John Hill Morgan

### WHIDBY ISLAND, WASHINGTON

Mr. Frank J. Pratt, Jr.
6

## PAINTER MEMBERS

Mr. John Singer Sargent
Mr. Charles W. Hawthorne
Mr. Frederick Ballard Williams
Mr. Chauncey F. Ryder
Mr. Frank W. Benson
Mr. Edwin Blashfield
Mr. W. Elmer Schofield
Mr. Oliver Dennett Grover
Mr. Edmund Greacen
Miss Helen Turner
Mr. Gardner Symons
Mr. Ezra Winter
Mr. Irving R. Wiles
Mr. John C. Johansen
M. Jean McLane
Mr. Daniel Garber
Mr. R. Sloan Bredin
Mr. Elliott Daingerfield
Miss Felicie Waldo Howell
Mr. Ernest Ipsen
Mr. Murray P. Bewley
Mr. Francis C. Jones
Mr. Harry Watrous
Mr. George Elmer Browne
Mr. Edward H. Potthast
Mr. Albert Groll
Mr. Frederick J. Waugh
Mr. Ralph Clarkson
Mr. Leopold Seyffert
Mr. John Sloan
Miss Cecilia Beaux
Mr. Roy Brown
Mr. E. Irving Couse
Miss Lillian Genth
Mr. Douglas Volk
Mr. G. Glenn Newell
Mr. Charles Warren Eaton
Mr. Harry A. Vincent
Mr. Victor Higgins
Mr. Leon Gaspard
Mr. Wilson Irvine
Mr. Charles H. Woodbury
Mr. George H. Hallowell
Mr. Birge Harrison
Mr. H. Dudley Murphy
Mr. Karl Anderson
Mr. Leslie P. Thompson
Mr. Charles Hopkinson
Mr. Philip L. Hale
Mrs. Lilian Westcott Hale
Mr. Cullen Yates
Mr. Ernest L. Blumenschein
Mr. Guy Wiggins
Mr. William Wendt
Mr. Ivan G. Olinsky
Mr. Henry W. Parton
Mr. Robert W. Chanler
Mr. Walter Ufer
Mr. Edward C. Volkert
Mr. Hobart Nichols
Mr. Alson Skinner Clark
Mr. Max Bohm (deceased)
Mr. Henry R. Rittenberg
Mr. Eugene F. Savage
Mr. John Noble
Miss Anna Fisher
Mr. John R. Folinsbee
Mr. Karl A. Buehr
Mr. Van Dearing Perrine
Mr. William Baxter Closson
Mr. Albert Sterner
Mr. Charles H. Davis
Mr. Paul Dougherty
Mr. Ben Foster
Mr. Charles S. Chapman
Mr. Louis Ritman
Mr. Putnam Brinley
Mr. Charles Morris Young
Mr. Wayman Adams
Mr. John F. Carlson
Mr. Henry B. Snell
Mr. Hugh Breckenridge
Mr. Paul King
Mr. Henry O. Tanner
Mr. Horatio Walker
7Mr. 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
8

## An Appreciation

An Exhibition of the works of Mr. John Sargent is the most important event of the kind that could at this moment happen anywhere, as he is the foremost living painter in the world. So far as one can judge the work of a contemporary, one is justified in predicting immortality for these compositions. Sargent belongs among the great portrait painters of all time, his pictures revealing the mysterious but unmistakable stamp of genius. In fact, everything he does shows this quality, which makes his painting the envy of competitors, and the pride and glory of American art. He has no successful living rival, but is in a class by himself. So true is this, that if I were asked to name the greatest living American, I should unhesitatingly name John Singer Sargent.

This Exhibition is for the benefit of the Endowment Fund of the Painters and Sculptors Gallery Association, with which Mr. Sargent has from the beginning been in active cooperation.

William Lyon Phelps
9

## “Masters of American Paintings”

Charles Caffin
Courtesy of Doubleday Page & Company, 1902

“John Singer Sargent has been a favored child of the Muses, and early reached a maturity for which others have to labour long and in the face of disappointments. He, however, has never had anything to unlearn. From the first he came under the influence of taste and style, the qualities which to this day distinguish his work.... With a facility that was partly a natural gift, partly the result of a steady acceptance of the problems presented, he proceeded to absorb his master—Carolus-Duran. Sargent absorbed his breadth of picturesque style, his refined pictorial sense, his sound and scientific method, not devoid of certain tricks of illusion and his piquant and persuasive modernity.... Later, Sargent visited Madrid, and came under the direct spell of Velasquez. The grand line he had learned while a boy, and from Carolus the seeing of colour as coloured light, the modelling in planes, the mysteries of sharp and vanishing outlines appearing and reappearing under the natural action of light, a realism of observation at once brilliant and refined, large and penetrating. Finally, from all these influences, Sargent has fashioned a method of his own.

“How shall one describe the method? It reveals the alertness and versatility of the American temperament. Nothing escapes his observation, up to a certain point at least; he is never tired of a fresh experiment; never repeats his compositions and schemes of colour, nor shows perfunctoriness or weariness of brush. In all his work there is a vivid meaningfulness; in his portraits, especially, an amazing suggestion of actuality. On the other hand, his virtuosity is largely French, reaching a perfection of assurance that the quick witted American is, for the most part, in too great a hurry to acquire; a patient perfection, not reliant upon mere impression or force of temperament. In the abounding resourcefulness of his method there is a mingling of audacity and conscientiousness; a facility so complete that the acts of perception and of execution seem identical, and an honesty that does not shrink from admitting that such and such a point was unattainable by him, or that to have obtained it would have disturbed the balance of the whole. Yet, this virtuosity, though it is French in character, is free of the French manner, as indeed of any mannerism. This skill of hand is at the service of a brilliant pictorial sense. Like a true painter, he sees a picture in everything he studies. It gives to each of his canvases a distinct aesthetic charm; grandiose in some, ravishingly elegant in others, delicately quaint in a few, but all of them variously characterized by grandeur of line, suppleness of arrangement, and fascinating surprise of detail; used with extraordinary originality, but always conformable to an instinctive sense of balance and rhythm.

“Sargent is not of the world in which he plays so conspicuous a part, but preserves an aloofness from it and studies it with the collectedness of an onlooker interested in the moving show and in its general trends of motive, but with an individual sympathy only occasionally elicited. Sargent has his grip upon the actual, and while in relation to the world and people about him he is almost a recluse, he has delighted his imagination with the seemings and shows of things and with their material significance.”

10

## Modern Artists

Christian Brinton
Courtesy of Doubleday Page & Company—The Sun, 1908

“Beyond all question Sargent is the most conspicuous of living portrait painters. Before his eyes pass in continuous procession the world of art, science, and letters, the world financial, diplomatic, or military, and the world frankly social. To-day comes a savant, a captain of industry, or a slender, troubled child. Tomorrow it will be an insinuating Semetic Plutus; next week may bring some fresh-tinted Diana, radiant with vernal bloom. Everyone from poet to general, from duchess to dark-eyed dancer, finds place in this shifting throng....

“With the entrance of Sargent into the arena of art cherished conventions disappear in sorry discomfiture. With a dignity and a technical mastery which compel both respect and enthusiasm he tramples upon tradition whenever tradition stands in his way. It is useless to scan these canvases in the hope of finding various qualities which for centuries have been deemed the touchstone of portraiture. Contemplation and reflection are by no means the rule. That adjustment of diverse elements which makes for balanced composition is often lacking. That endearing love of tone for its own sake is frequently absent. The vigorous outline of Holbein, the rich sobriety of Titian, or the permeating magic of Leonardo find but faint echo in the work of this modern innovator. With almost disdainful independence he has declined to repeat the triumphs of the great forerunners. In place of their ideals he has substituted ideals which are resolutely his own. However you may regard his contribution, it is impossible not to recognize its insistent novelty. Once in possession of the underlying facts, there should be no trouble in reading aright the salient, positive art, this art which by turns persuades and repels. Yet one cannot divine just why these high-bred women are so animated, or why the soldiers and statesmen are so emphatic, without first peering beneath the exterior. Though Sargent may himself remain dexterously on the surface, the spectator cannot. It is not enough to watch this conjurer perform his trick; we must see how it is accomplished.

“So dazzled has the majority been by what is called the man’s cosmopolitanism that the real racial basis of his nature has been over-looked.... Sargent is American in his fundamental instincts. His adaptability and his very lack of marked bias bespeak the native complexity of his origin. It cannot for a moment be maintained that the French paint themselves as Sargent paints them, or the English either. His art is neither Gallic nor British, it is American, and the chief reason why it is so different from most Anglo-Saxon art is because it is so superior, not because it is unAmerican. In any case the sense of motion remains Sargent’s personal conquest, possibly, even, his chief contribution to portraiture.

“In Sargent’s portraits women are in the act of starting from their chairs and men are on the very point of speaking. Here is a dancer whose yellow skirt still swirls in elastic convolutions; there stands a painter lunging at the canvas with sensitively poised brush. All is restless, vivid, spontaneous. One and all these creatures vibrate with the nervous tension of the age. Other artists have given calm, or momentarily arrested motion. Sargent gives motion itself. With a technique facile as it is assertive this magician of the palette, this paganini of portraiture, has lured us into a new world, a world which we ourselves know well—perhaps too well—but a world hitherto undiscovered by painting.”

11

## Art and Common Sense

By Royal Cortizzoz
Courtesy of Scribner & Son, 1913

“Sargent studying under the wing of Carolus-Duran, was in an atmosphere sympathetic to new ideas, but not at all inhospitable to old ones. While he emerged from his master’s studio a modern in the best sense of the term, it was with a vein of conservatism in him which has never disappeared. Of how many modern painters, endowed, as he has been, superabundant technical brilliance, could it be said that they have never exceeded a certain limit of audacity? I know of no canvas of his which could fairly be called sensational. One of the least conventional of painters, his art nevertheless remains adjusted to the tone and movement of the world in which he lives—surely a fine example of genius expressing its age.

“People complain that Sargent violates the secret recesses of human vanity, and brings hidden, because unlovely, traits out into the light of day; that his candor with the brush is startling, to say the least, and sometimes even perilous. He is accused not simply of painting his sitter, ‘wart and all,’ but of exaggerating the physical or moral disfigurement. If this is true there is something humorous in the spectacle, which is constantly being presented, of men and women running the risk.... Few of his sitters, seem, as we see them on the canvas, to have been passive in his hands. The electric currents of a duel are in the air. Character has thrown down its challenge, the painter has taken it up, and the result is a work in which character is fused with design, playing its part in the artistic unit as powerfully, and almost as vividly, as any one of the tangible facts of the portrait.

“In the light of the long procession of portraits which he has put to his credit, it seems to me that if there is a living painter in whose interpretations of character confidence can be placed, it is Sargent. His range is apparently unlimited. He has painted men and women in their prime and in their old age, and in whatever walk of life he has found them, he has apprehended them with the ‘seeing eye’ that is half the battle.... It is worth noticing that it is not his portraits of men, but in his portraits of women, who illustrate far more histrionically the nervous tension of the age, that Sargent has painted his most unconventional compositions. When his subject has permitted him to exchange nervousness for repose, with what felicity he has seized his opportunity! There is not in modern portraiture a more satisfactory study in dignity and noble stateliness than his ‘Mrs. Marquand.’ (Shown in this exhibition)

“Sargent is himself in his reading of character in his design, and in his style. To say this is not to forget his indebtedness, where style is concerned, to other painters, even, Carolus-Duran. I think there is something of Carolus-Duran in his mere cleverness which like so much that is fluent and self-possessed in modern craftsmanship, could have been developed in Paris and nowhere else. The broad slashing stroke of Hals has taught him something, it is fair to assume; and the influence of Velasquez in his work is sufficiently obvious. Yet there is not in all his painting the ghost of what it would be reasonable to call an imitative passage. He is no more a modern Hals or Velasquez than he is a modern Rembrandt or Botticelli, for he looks at life and art from a totally different point of view, not simply, or grandly, or tragically, or imaginatively, but with the detached intellectual curiosity of a man of the world.”

12

## American Painting and Its Traditions

John Van Dyke
Courtesy of Scribner & Sons, 1919

“Sargent did not wholly achieve art, for some of it was born to him, and some of it, perhaps, was thrust upon him. Training started him right, but his great success is not wholly due to that. Genius alone can account for the remarkable content of his work.

“Sargent’s life has been the result of peculiar circumstances—fortunate circumstances some may think; unfortunate others may hold. At least they have been instrumental in bringing forth an accomplished painter whose art no one can fail to admire. That his work may be admired understandingly it is quite necessary to comprehend the personality of the artist—to understand his education, his associations, his artistic and social environments. For if the man himself is cosmopolitan his art is not less so. It is the perfection of world-style, the finality of method.

“If I apprehend Sargent rightly, such theory of art as he possesses is founded in observation. Some fifteen years ago, in Gibraltar, at the old Cecil Hotel, I was dining with him. That night, as a very unusual thing, Sargent talked about painting—talked of his own volition. He suggested his theory of art in a single sentence: ‘You see things that way’ (pointing slightly to the left) ‘and I see them this way’ (pointing slightly to the right). He seemed to think that would account for the variation or peculiarity of eye and mind, and with a manner of doing—a personal method—there was little more to art. Such a theory would place him in measured agreement with Henry James whose definition of art has been quoted many times: ‘Art is a point of view, and a genius a way of looking at things.’

“A painter who has been looking at human heads for many years sees more than the man who casually looks up to recognize an acquaintance on the street. I do not mean that he sees more ‘character’—that is more scholarship or conceit, or pride of purse or firmness of will or shrewdness of thought, but merely that he sees the physical conformation more completely than others do. Every one sooner or later moulds his own face. It becomes marked or set or shaped in response to continued methods of thinking and acting. When that face comes under the portrait painter’s eye, he does not see the scholar, the banker, the senator, the captain of industry; but he does see perhaps, certain depression of the cheek or lines about the eyes or mouth in contractions of the lips or protrusions of the brow or jaw that appeal to him strongly because they are cast in shadow or thrown up sharply in relief of light. These surface features he paints perhaps with more emphasis than they possess in the original because they appeal to him emphatically, and presently the peculiar look that indicates the character of the man appears. What the look may indicate, or what kind of phase of character may be read in or out of the look, the portrait-painter does not know or care. He paints what he sees and has as little discernment of a character as of a mind. He gives, perhaps, without knowing their meaning, certain protrusions and recessions of the surface before him and lets the result tell what it may. In the production of the portrait accurate observation is more than half the battle. If a painter sees and knows his subject thoroughly, he will have little trouble in telling what he sees and knows; and to say of Sargent that he observes rightly and records truly is to state the case in a sentence.”

13

## OIL PAINTINGS

1
  Portrait of Mrs. H. F. Hadden (1878). Loaned by Mrs. Hadden
2
  The Lady with the Rose—My Sister (1882). Loaned by Mrs. Hadden
3
  “Pointy” (1884). Loaned by Mrs. Hadden
4
  The Simplon. Loaned by Mrs. Montgomery Sears
5
  Portrait of Major Higginson Loaned by Harvard University
6
  Portrait of Ex-President Charles W. Eliot of Harvard University
7
  Portrait of President Lowell. Loaned by Harvard University
8
  Lake O’Hara. Loaned by Fogg Art Museum
9
  Portrait of Miss Mary Elizabeth Garrett. Loaned by Johns Hopkins University
10
  Portrait of Mrs. J. William White. Loaned by Mrs. White
11
  Portrait of Mrs. Fiske Warren and Daughter. Loaned by Fiske Warren, Esq.
12
  Portrait of Mrs. Endicott. Loaned by Mr. Wm. C. Endicott, Jr.
13
  Portrait of Mrs. William Hartley Carnegie. Loaned by Mrs. Endicott
14
  His Studio. Loaned by Museum of Fine Arts, Boston
15
  The Road. Loaned by Museum of Fine Arts, Boston
16
  Master and Pupils. Loaned by Museum of Fine Arts, Boston
17
  Head of Joseph Jefferson. Loaned by Mr. Sargent
18
  Reconnoitering. Loaned by Mr. Sargent
19
  Portrait of Joseph Pulitzer, Esq. Loaned by Mrs. Pulitzer
20
  Portrait of Mrs. Edward L. Davis and Her Son, Livingston Davis. Loaned by Mr. Livingston Davis, Boston
21
  Portrait of a Lady. Loaned by Mr. Augustus P. Loring
22
  Portrait of Mrs. Augustus Hemenway. Loaned by Mrs. Hemenway
23
  Portrait of Edward Robinson, Esq. Loaned by Mr. Robinson
24
  Egyptian Girl
25
  Syrian Goats
26
  Spanish Stable
27
  Camp Fire. Loaned by Mr. Thomas A. Fox
28
  Robert Louis Stevenson. Loaned by Mrs. Payne Whitney
29
  Portrait of John Hay, Esq. Loaned by Mr. Clarence L. Hay
30
  Portrait of Miss Ada Rehan. Loaned by Mrs. G. M. Whitin
31
  Portrait of Mr. and Mrs. Field. Loaned by Pennsylvania Academy of Fine Arts
32
  Portrait of Mrs. Charles E. Inches. Loaned by Mrs. Inches, Boston
33
  Portrait of Mrs. Adrian Iselin. Loaned by Miss Iselin
34
  The Honorable Mrs. Frederick Guest. Loaned by Mrs. Phipps
35
  Portrait of Mrs. Phipps and Winston. Loaned by Mrs. Phipps
36
  Portrait of General Leonard Wood. Loaned by General Wood
37
  The Sulphur Match. Loaned by Mr. Louis Curtis
38
  Sketch of Edwin Booth. Loaned by Mrs. Willard Straight 14
39
  A Street in Venice. Loaned by Mrs. Stanford White
40
  Cypresses and Pines. Loaned by Copley Gallery
41
  Portrait of Mrs. Henry White—neé Margaret Stuyvesant Rutherford. Loaned by Honorable Henry White
42
  Sketch of Mrs. Henry White—neé Margaret Stuyvesant Rutherford. Loaned by Honorable Henry White
43
  Portrait of Mrs. John J. Chapman. Loaned by Mrs. Richard Aldrich
44
  Venetian Interior. Loaned by Carnegie Institute
45
  Portrait of Homer Saint-Gaudens and Mother. Loaned by Mrs. Saint-Gaudens
46
  Graveyard in Tyrol. Loaned by Robert Treat Paine, 2nd
47
  Mussel Gatherers. Loaned by Mrs. Carroll Beckwith
48
  The Fountain. Loaned by Art Institute of Chicago
49
  Portrait of Mrs. Charles Gifford Dyer. Loaned by Art Institute of Chicago
50
  Portrait of Mrs. Thomas Lincoln Manson. Loaned by Mrs. Kiliaen Van Rensselaer
51
  Moorish Courtyard. Loaned by Mr. James H. Clarke
52
  Venetian Bead Stringers. Loaned by the Buffalo Fine Arts Academy
53
  Interior—The Confession. Loaned by Mr. Desmond Fitzgerald
54
  Portrait of Miss Katharine Pratt. Loaned by Mr. Frederick S. Pratt
55
  Portrait of Mrs. Edward D. Brandegee. Loaned by Mr. Brandegee
56
  Portrait of Peter Chardon Brooks, Esq. Loaned by Mrs. R. M. Saltonstall
57
  Portrait of Mrs. Dave H. Morris as a Girl. Loaned by Mrs. Morris
58
  Portrait of Mr. and Mrs. I. N. Phelps Stokes. Loaned by Mr. Phelps Stokes
59
  Portrait of Mrs. Marquand. Loaned by Mr. Allan Marquand
60
  The Chess Game. Property of Grand Central Art Galleries

## WATER COLORS

61
  Palms
62
  Shady Paths—Vizcaya
63
  Boats at Anchor
64
  Derelicts
65
  The Pool
66
  Muddy Alligators
67
  The Basin—Vizcaya
68
  The Loggia—Vizcaya
69
  The Bathers
70
  The Terrace—Vizcaya
71
  The Patio—Vizcaya

Loaned by Worcester Art Museum
72 The Mist. Loaned by Mrs. J. D. Blanchard
15

32 Portrait of Mrs. Charles E. Inches
Loaned by Mrs. Inches, Boston

16

41 Portrait of Mrs. Henry White—neé Margaret Stuyvesant Rutherford
Loaned by Honorable Henry White

17

11 Portrait of Mrs. Fiske Warren and Daughter
Loaned by Fiske Warren, Esq.

18

31 Portrait of Mr. and Mrs. Field
Loaned by Pennsylvania Academy of Fine Arts

19

9 Portrait of Miss Mary Elizabeth Garrett
Loaned by Johns Hopkins University

20

7 Portrait of President Lowell
Loaned by Harvard University

21

6 Portrait of Ex-President Charles W. Eliot, Formerly of Harvard University
Loaned by Harvard University

22

58 Portrait of Mr. and Mrs. I. N. Phelps Stokes
Loaned by Mr. Phelps Stokes

23

2 The Lady with the Rose—My Sister (1882)
Loaned by Mrs. Hadden

24

5 Portrait of Major Higginson
Loaned by Harvard University

25

59 Portrait of Mrs. Marquand
Loaned by Mr. Alan Marquand

26

33 Portrait of Mrs. Adrian Iselin
Loaned by Miss Iselin

27

30 Portrait of Miss Ada Rehan
Loaned by Mrs. G. M. Whitin

28

29 Portrait of John Hay, Esq.
Loaned by Mr. Clarence L. Hay

29

10 Portrait of Mrs. J. William White
Loaned by Mrs. White

30

50 Portrait of Mrs. Thomas Lincoln Manson
Loaned by Mrs. Kiliaen Van Rensselaer

31

22 Sketch of Mrs. Augustus Hemenway
Loaned by Mrs. Hemenway

32

18 Reconnoitering
Loaned by Mr. Sargent

33

8 Lake O’Hara
Loaned by Fogg Art Museum

34

14 His Studio
Loaned by Museum of Fine Arts, Boston

35

51 Moorish Courtyard
Loaned by Mr. James H. Clarke

36

17 Head of Joseph Jefferson
Loaned by Mr. Sargent

37

19 Portrait of Joseph Pulitzer, Esq.
Loaned by Mrs. Pulitzer

38

36 Portrait of General Leonard Wood
Loaned by General Wood

39

1 Portrait of Mrs. H. F. Hadden (1878)
Loaned by Mrs. Hadden

40

34 The Honorable Mrs. Frederick Guest
Loaned by Mrs. Phipps

41

23 Portrait of Edward Robinson, Esq.
Loaned by Mr. Robinson

42

42 Sketch of Mrs. Henry White—neé Margaret Stuyvesant Rutherford
Loaned by Honorable Henry White

43

45 Portrait of Homer Saint-Gaudens and Mother
Loaned by Mrs. Saint-Gaudens

44

35 Portrait of Mrs. Phipps and Winston Loaned by Mrs. Phipps

45

20 Portrait of Mrs. Edward L. Davis and Her Son, Livingston Davis
Loaned by Mr. Livingston Davis, Boston

46

43 Portrait of Mrs. John J. Chapman
Loaned by Mrs. Richard Aldrich

47

37 The Sulphur Match
Loaned by Mr. Louis Curtis

48

## Facts Concerning This Exhibition

In bringing together this retrospective exhibition of Mr. John Sargent’s important works in this country, we feel that we are rendering a service to the American people.

It is unquestionably the most important and most valuable collection ever assembled by a Living Artist, and it is interesting to note that the insurance policy placed on the collection amounts to nearly a million dollars.

The Grand Central Art Galleries is a no profit organization and its efforts are dedicated solely to the interests of the living American Artists.

Mr. John Singer Sargent has personally selected and approved all of the paintings in this exhibition and in choosing this Gallery he has greatly honored this organization.

An Invitation granting free admission to the exhibition to Art Students is being sent to all of the leading Art Schools; an admission charge to all others, to defray the cost of the exhibition, will be made.

49 FRAMES designed by M. GRIEVE COMPANY
155 EAST FORTY-SECOND ST., NEW YORK
Branch: LONDON, ENGLAND
Specialists
in the
Framing
of
Old Master
Pictures

Pat. 3233 Flemish Gothic 17th Century

Importers of
Genuine
Antique
Gilt Carved
Wood
Painting
Frames

Pat. 3215 Italian 16th Century

Pat. 3014 Flemish Gothic 16th Century

50

Pat. 1877 Spanish 18th Century

Pat. 3455 Spanish 16th Century

Pat. 1751 Spanish 17th Century

Pat. 3095 Spanish 16th Century

51 Two Centuries of Frame Making

In the year 1721 in a small Flemish village lived Grieve, a famous maker of masterful picture frames; whose sole ambition was to please the tastes of the great painters of his time.

The best mid-eighteenth century frames were made by him and his disciples. Grieve was the first to conceive the possibilities in his chosen field and to realize that a painting to be rightly appreciated had to be surrounded by a frame chosen artistically and with due regard to the effect of the painting on the spectator and of the whole as a work of art.

Neither chance nor fashion entered into their construction. On the contrary, they were the result of a distinctive aesthetic sentiment for the beautiful in conjunction with an almost scientific appreciation of what would enhance the intelligent understanding of the picture.

The demand at that time was so insistent that Grieve was obliged to teach the tedious task of gilding and wood-carving to the members of his immediate family; from that moment began this great family of frame makers.

Not content with their conquest in Belgium, the Grieves moved to London, which offered them a larger opportunity, and established there a still more progressive branch of the parent institution.

As is the case with all progressives, they were constantly on the watch for new fields to conquer and as America seemed particularly inviting, M. Grieve the youngest of the family, moved to New York and established the largest hand-carved wood frame factory in the world.

The Grieve of old still lives, and the sacred flame which he kindled is still kept burning by the single American representative of this great family of frame makers.

The American Grieve has progressed with the times. He has revolutionized the ancient art of his forefathers to conform with the demands of modern times; he has perfected a method of manufacturing through quantity production the same quality of art frames which the Grieves before him carved out laboriously at considerable expense.

That the GRIEVE Frame adds quality to your picture is a fact which is recognized by the foremost Art Dealers and Painters in this Country.
Importers of Genuine Antique Gilt Carved Wood Painting Frames
Specialists in the Framing of Old Master Pictures
Address After May 1st, 1924: 234 East 59th Street
52
Macbeth Gallery
15 East Fifth-seventh Street
❦
Founded in 1892 for the Exhibition and Sale
of
Paintings by American Artists
❦
“ART NOTES” and Catalogues of Exhibitions mailed on request
❦
William Macbeth
INCORPORATED
53

Painted by G. Morland      FOX HUNTING      Engraved by E. Bell

KENNEDY & CO., 693 FIFTH AVENUE, NEW YORK
(Successors to H. Wunderlich & Co.)
FINE OLD ENGLISH COLOR PRINTS OF
Sporting, Hunting, Shooting and Naval Subjects
RARE AMERICAN HISTORICAL PRINTS
FINE ETCHINGS BY OLD AND MODERN MASTERS
Important Exhibition
WATER COLOR DRAWINGS
By FRANK W. BENSON
and RARE TRIAL PROOFS
OF HIS
ETCHINGS AND DRY-POINTS
54
DURAND-RUEL
Paintings
PARIS
16 RUE LAFFITTE
NEW YORK
12 EAST 57TH STREET
JOHN LEVY GALLERIES
Paintings
559 FIFTH AVENUE
28 PLACE VENDOME
PARIS
55
GORHAM
Bronzes by
American Sculptors

Large and Small Pieces cast of the finest material in the Gorham Foundries, and exhibited at the Gorham Galleries

FIFTH AVENUE AND 36th STREET
NEW YORK
56
EARLY CHINESE ART

Swelling ovoid-shaped Vase of light buff pottery, having its two loop handles at the base of the neck connected by a collar. The opalescent glaze of old turquoise-blue is minutely crackeled and encrusted with reddish earth. The lip, which has been broken, is encased in a copper band. The glaze completely covers the vase, including the base, which is slightly concave. The form of this jar is truly noble and the beauty of its glaze is impossible to describe. Persian influence on Chinese art is here especially noticeable, for this specimen might easily be taken for a fine piece of Rakka ware. Tang Dynasty: 618–906 A. D. Height: 13 inches. Greatest diameter: 10 inches.

Parish-Watson & Co. inc.
560 Fifth Avenue
New York
Old Chinese Porcelains and Sculptures Archaic Chinese Bronzes and Jade Rare Persian Faience
P. JACKSON HIGGS
ELEVEN EAST FIFTY-FOURTH STREET, NEW YORK
Works of Art
➿︎︎
OLD MASTERS ⁘ RENAISSANCE BRONZES ⁘ TAPESTRIES ⁘ GREEK AND ROMAN EXCAVATIONS
NOW ON EXHIBITION
American Representative of
THE BACHSTITZ GALLERY
The Hague Holland
57
Charles Scribner’s Sons Fifth Avenue, New York
A Group of Notable Books on Art

REMBRANDT AND HIS SCHOOL. By Prof. John C. Van Dyke. Limited to 1,200 copies | $12.00
EDWIN AUSTIN ABBEY. The Record of His Life and Work. By E. V. Lucas. 200 illus. 2 vols. | $30.00
AMERICAN ARTISTS. By Royal Cortissoz. Illustrated | $3.00
NEW GUIDES TO OLD MASTERS (The Galleries of Europe). By Prof. John C. van Dyke. |
LONDON—National Gallery, Wallace Collection. $1.25. PARIS—Louvre. $1.25 |
AMSTERDAM—Rijks Museum; THE HAGUE—Royal Gallery; HAARLEM—Hals Museum. $1.25 |
ANTWERP—Royal Museum; BRUSSELS—Royal Museum. $1.25 |
MUNICH—Old Pinacothek; FRANKFORT—Staedel Institute; CASSEL—Royal Gallery. $1.25 |
BERLIN—Kaiser Friedrich Museum; DRESDEN—Royal Gallery. $1.25 |
VIENNA—Imperial Gallery; BUDAPEST—Museum of Fine Arts. $1.25 |

The Universal Art Series
Each volume profusely illustrated

LANDSCAPE PAINTING. By C. Lewis Hind | $8.50
Vol. I. From Giotto to Turner. |
MODERN MOVEMENTS IN PAINTING. By Charles Marriott | $7.50
DESIGN AND TRADITION. By Amos Fenn | $8.50
THE ART OF ILLUSTRATION. By E. J. Sullivan | $8.50
SCULPTURE OF TO-DAY. By Kineton Parkes |
Vol I. America, Great Britain, Japan | $8.50
Vol. II. Continent of Europe | $9.50

General History of Art Series

Each volume is written by a representative authority and contains between 500 and 600 illustrations, reproduced from carefully selected originals.

$3.00 each
ART IN GREAT BRITAIN AND IRELAND. By Sir Walter Armstrong
ART IN NORTHERN ITALY. By Dr. Corrado Ricci
ART IN FRANCE. By G. Maspero
ART IN FLANDERS. By M. Max Rooses
ART IN SPAIN AND PORTUGAL. By Marcel Dieulafoy
Classics of Art Series

A library of art specially distinguished by profuseness and completeness of illustration, in full-page plates.

CHARDIN. By Herbert E. A. Furst. 45 plates | $7.00
DONATELLO. By Maud Cruttwell. 81 plates | $6.25
FLORENTINE SCULPTORS OF THE RENAISSANCE. By Wilhelm Bode, Ph.D. | $6.00
LAWRENCE. By Sir Walter Armstrong. 41 plates | $6.50
MICHELANGELO. By Gerald S. Davies. 126 plates | $7.50
RAPHAEL. By A. P. Oppe. 200 plates | $7.50
REMBRANDT ETCHINGS. With 330 examples. By A. M. Hind. 2 vols. | $12.00
ROMNEY. By A. B. Chamberlain. 72 plates | $7.00
TINTORETTO. By Evelyn March Phillipps. 61 plates | $6.25
TITIAN. By Charles Ricketts. 181 plates | $9.75
TURNER. By A. Finberg. 100 plates | $6.00
VELASQUEZ. By A. de Berutte. 94 plates | $7.50

Contemporary British Artists
Edited by Arthur Rutherston
Each volume with about 35 plates. $2.00 each
GEORGE CLAUSEN
AUGUSTUS JOHN
PAUL NASH
WILLIAM ORPEN
WILLIAM NICHOLSON
WILLIAM ROTHENSTEIN
Two Books on Oriental Art
JAPANESE COLOUR PRINTS
By Laurence Binyon and J. J. O’Brien Sexton
With 16 plates in color and 28 in half-tone, illustrating more than 50 prints $25.00
AN INTRODUCTION TO THE STUDY OF CHINESE PAINTING
By Arthur Waley, Assistant in the British Museum. With 50 plates $20.00
The
Scribner Bookstore
for Rare Books
on the Fine Arts

Rare and unusual volumes on American, English, Continental, and Oriental painters and paintings, such as:

THE WORK OF JOHN SINGER SARGENT. With an introductory note by Alice Meynell

Bode’s COMPLETE WORK OF REMBRANDT

Armstrong’s GAINSBOROUGH

SIR JOSHUA REYNOLDS. By Walter Armstrong

Petrucci, ENCYCLOPÉDIE DE LA PEINTURE CHINOISE

Michel, HISTOIRE DE L’ART 12 volumes

Scribner Books at All Bookstores.
All Books at the Scribner Bookstore
Fifth Avenue at Forty-eighth Street
58
ARTISTS FRAMING CO., Inc.
PICTURE FRAMES
of
HIGHEST QUALITY
57 East 59th St., New York
J. LOWENBEIN, Pres. PLAZA 1680

JEAN FRANCOIS GROLIER
Master Printer of the Sixteenth Century

Compare the crude methods of printing used in the Sixteenth Century with the modern craftsmanship which enables us to produce a book of this character.

Chelsea 8053–54

The Grolier Craft Press
INCORPORATED
229 West 28th Street
NEW YORK CITY
59
We Buy Paintings
by
Inness
Wyant
Martin
Homer
Fuller
Blakelock
Twachtman
Weir
Remington
Ryder
Duveneck
Murphy
Thayer
Robinson
Moran
L’Hermitte
Israels
Corot
Dupre
Jacque
Diaz
Daubigny
Rousseau
Cazin
AINSLIE GALLERIES
677 FIFTH AVENUE, NEW YORK
ESTABLISHED 1885
60
FRENCH & COMPANY
Works of Art
6 EAST 56TH STREET, NEW YORK
ANTIQUE TAPESTRIES
VELVETS
EMBROIDERIES
FURNITURE
DECORATIONS
61
The Milch Galleries
Dealers in American
Paintings and Sculpture
Wayman Adams
Gifford Beal
George Bellows
George De Forest Brush
Bruce Crane
Elliott Daingerfield
Thomas W. Dewing
Nicolai Fechin
Leon Gaspard
Albert Groll
Childe Hassam
Robert Henri
Hobart Nichols
Gari Melchers
Willard L. Metcalf
William Ritschel
Eugene Speicher
D. W. Tryon
Horatio Walker
Guy Wiggins
F. Ballard Williams
❦
Max Bohm
R. A. Blakelock
Gedney Bunce
Henry Golden Dearth
Winslow Homer
George Inness
J. Francis Murphy
Abbott H. Thayer
John H. Twachtman
J. Alden Weir
A. H. Wyant
108 WEST 57th STREET, NEW YORK CITY
62

1632—Princess of Orange by Nicholas Maes—1693

Ehrich Galleries
707 Fifth Avenue
At Fifty-fifth Street
New York
❦
Paintings by Old Masters
PAINTINGS of DISTINCTION
American and European
DUDENSING GALLERIES
45 WEST 44TH STREET, NEW YORK
63
LINCOLN
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
64
“The House of Wedding Presents”
Exclusive Gifts
Miss E. A. Higgs Mrs. F. M. Carleton
21 East Fifty-fifth Street, New York
65
STEINWAY
THE INSTRUMENT OF THE IMMORTALS

Occasionally the genius of man produces some masterpiece of art—a symphony, a book, a painting—of such surpassing greatness that for generation upon generation it stands as an ideal, unequaled and supreme. For more than three score years the position of the Steinway piano has been comparable to such a masterpiece—with this difference: A symphony, a book, a painting, once given to the world, stands forever as it is. But the Steinway, great as it was in Richard Wagner’s day, has grown greater still with each generation of the Steinway family. From Wagner, Liszt and Rubinstein down through the years to Paderewski, Rachmaninoff and Hofmann, the Steinway has come to be “the Instrument of the Immortals” and the instrument of those who love immortal music.

Steinway & Sons and their dealers have made it conveniently possible for music lovers to own a Steinway.
Prices: $875 and up, plus freight at points distant from New York.
STEINWAY & SONS, Steinway Hall, 109 E. 14th Street, New York
66
Correct Lighting of Valuable Paintings

Correct illumination is as necessary for the valuable painting in the home as for those in the great galleries.

FRINK REFLECTORS

are scientifically designed to fulfill this purpose. Each picture is treated according to its characteristic requirements. Frink Lighting is used in such prominent galleries as the Freer Memorial Art Galleries as well as in many private galleries.

I. P. FRINK, Inc.
24th St. and 10th Ave., New York Branches in Principal Cities
67
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.
68
DeLANOY & DeLANOY
INSURANCE
TWO WALL STREET NEW YORK
Lavezzo & Bro. Inc.
DIRECT IMPORTERS OF
ITALIAN ANTIQUE
FURNITURE AND
WROUGHT IRON WORK
154 EAST 54th STREET NEW YORK
69
ANTIQUE WORKS OF ART
Furniture Paintings

Portrait painted in 1884 by John S. Sargent

KIRKHAM & HALL
31 East 57th Street, New York
WILLIAM KIRKHAM GLENN HALL
70

“FOREST OF ARDEN” By ALBERT P. RYDER
From the A. T. Sanden Collection just acquired by Ferargil, Inc.

Offering the
American Masterpieces
By Albert Pinkham Ryder
Just transferred from the Metropolitan Museum of Art, New York

Together with important works by A. B. Davies, J. Alden Weir, Frank Duveneck, H. G. Dearth, Theodore Robinson, John H. Twachtman, George Inness, Robert Spencer and famous sculptors.

Exhibition of Works by Horatio Walker
February 16th until March 4th, 1924
Messrs. Price and Russell
607 FIFTH AVENUE
NEW YORK
PACKERS AND MOVERS OF WORKS OF ART
ESTABLISHED 1867
W. S. Budworth & Son
COLLECTING AND PACKING FOR
ART EXHIBITIONS A SPECIALTY
TELEPHONE COLUMBUS 2194
424 West Fifty-Second Street New York City
71

Marie Sterner Albert Sterner

Under the direction of Marie Sterner (Mrs. Albert Sterner) The Art Patrons of America, Inc. will hold an Exhibition of American Paintings in London, Paris and Venice during the coming season.

Americans going abroad, it is hoped, will patronize this Exhibition. List of Patrons and other particulars upon request to Mrs. Muriel Boardman, Twenty-Two West Forty-Ninth Street, New York City.

Mrs. Wm. Payne Thompson, President
Mrs. Egerton L. Winthrop, Vice President
Mrs. Muriel Boardman, Secretary
Alaric Simson, Treasurer
Marie Sterner, Director
72
INTERNATIONAL
STUDIO
PEYTON BOSWELL, Editor

Just as a gallery exhibition of the finest American painting and sculpture is an inspiration and a source of rich enjoyment, so International Studio is for its readers a monthly exhibition of the significant art of all the world. Quality alone limits its field; painting, sculpture, architecture, the decorative arts, all of these in their most beautiful forms, make it truly America’s greatest art magazine.

75 cents the Copy
Published Monthly by
INTERNATIONAL STUDIO, INC.
49 West 45th Street, New York
6 Dollars the Year
The ART NEWS
An International Newspaper of Art
PEYTON BOSWELL, Editor

This periodical, unique of its kind in the world, is read by art lovers in scores of countries. It has subscribers in such distant lands as Japan, China, Siam, India, Australia, South Africa and Peru, and is especially looked upon as indispensable by art lovers of the United States, Canada, England and the Continent.

Published Weekly from October 15 to June 30
Monthly during July, August and September
$4.00 a year. $4.35 in Canada
49 West 45th Street New York City
73
ARLINGTON GALLERIES
CHARLES E. HENEY, Prop.
274 MADISON AVENUE NEW YORK
Established 1908 TEL. MURRAY HILL 3372
Paintings of Quality by
Thomas Sully
George Inness
A. H. Wyant
Homer Martin
Ralph Blakelock
Robert Spencer
Robert Reid
Daniel Garber
George Bellows
Bruce Crane
Martha Walter
Paul Cornoyer
Gari Melchers
Thos. Gainsborough
J. B. C. Corot
A. Schreyer
Josef Israels
Narcisse V. Diaz
Jules Dupre
Chas. Jacque
H. W. Mesdag
Martin Rico
Alfred Stevens
J. G. Vibert
J. C. Cazin
C. F. Daubigny
And Other Noted Masters
CANVAS

To the Artist what could be of greater value than knowing the foundation for his work is secure?

Devoe Canvas is manufactured from the finest raw materials and prepared by experts who with their years of experience are capable of producing Canvas as nearly perfect as possible for human hands to make.

We also manufacture Artists’ Oil Colors, Brushes and Materials to meet the demands of both Professional and Amateur.

Devoe & Raynolds Co., Inc.
New York Chicago
74
Kent-Costikyan
FOUNDED 1886
485 Fifth Avenue—Sixth Floor
New York
Opposite Public Library
❦
IMPORTERS
Antique and Modern Rugs
from
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Rugs woven to order in Orient
75
Arden Studios, Inc. & Arden Gallery
Mrs. James C. Rogerson
599 FIFTH AVENUE
❦
Interior Furnishings and Decorations
❦
Wood Paneling and Painting—Period Furnishings
Hangings, Silks, Velvets, Cretonnes, Rugs, Carpets
Original Treatment of Walls and Ceilings
Painted Furniture from Exclusive Arden Designs
❦
Interesting exhibitions bearing educationally upon Decorating and Furnishing are held at frequent intervals in Art Gallery
Consultations with Mrs. Rogerson may be made by appointment
76
REINHARDT
GALLERIES
Their New Address
730 Fifth Avenue
Corner of 57th Street
New York
PAINTINGS
77
78
M. KNOEDLER & CO.
(ESTABLISHED 1846)
High Class Paintings
By Old and Modern Masters
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79
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TRANSCRIBER’S NOTES

1. Silently corrected obvious typographical errors and variations in spelling.
2. Retained archaic, non-standard, and uncertain spellings as printed.

*** END OF THE PROJECT GUTENBERG EBOOK RETROSPECTIVE EXHIBITION OF IMPORTANT WORKS OF JOHN SINGER SARGENT, FEBRUARY 23RD TO MARCH 22ND, 1924 ***
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