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*** START OF THE PROJECT GUTENBERG EBOOK 70823 ***






                          John Singer Sargent




             _RETROSPECTIVE EXHIBITION OF IMPORTANT WORKS_
                                  _of_
                          JOHN SINGER SARGENT
                             FEBRUARY 23RD
                                  _to_
                               MARCH 22ND
                                  1924

                                   ❦


                     _GRAND CENTRAL ART GALLERIES_

                        _GRAND CENTRAL TERMINAL_
                          [_TAXICAB ENTRANCE_]

             _15 VANDERBILT AVENUE_        _NEW YORK CITY_

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




                      GRAND CENTRAL ART GALLERIES

                          15 Vanderbilt Avenue

                             New York City


                                TRUSTEES

                           JOHN G. AGAR
                           WALTER L. CLARK
                           WILLIAM A. DELANO
                           IRVING T. BUSH
                           ROBERT W. DEFOREST
                           WALTER S. GIFFORD
                           FRANK G. LOGAN


                                OFFICERS

               President               WALTER L. CLARK
               Vice President          ROBERT W. DEFOREST
               Secretary and Treasurer WALTER S. GIFFORD




                                FOREWORD


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

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

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

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

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

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




                              LAY MEMBERS


                             NEW YORK CITY

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


                             CHICAGO, ILL.

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


                             BOSTON, MASS.

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


                             NEWARK, N. J.

                          Mr. Joseph S. Isidor
                          Mr. Louis Bamberger


                            MONTCLAIR, N. J.

                            Mrs. Henry Lang


                           PHILADELPHIA, PA.

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


                             HAZELTON, PA.

                         Mr. Alvan Markle, Jr.


                             ST. LOUIS, MO.

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


                            AURORA, ILLINOIS

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


                           WASHINGTON, D. C.

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


                            NASHVILLE, TENN.

                          Major E. B. Stahlman


                           INDIANAPOLIS, IND.

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


                           ROCKFORD, ILLINOIS

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


                              AKRON, OHIO

                           Mr. Edwin C. Shaw


                            MILLBROOK, N. Y.

                          Mrs. Walter S. Beck


                           MINNEAPOLIS, MINN.

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


                            JOLIET, ILLINOIS

                          Mr. Theodore Gerlach


                             BUFFALO, N. Y.

                          Mr. Charles Clifton


                           KEWANEE, ILLINOIS

                            Mr. W. H. Lyman


                            KANSAS CITY, MO.

                          Mr. Albert R. Jones


                           NORFOLK, VIRGINIA

                          Mrs. William Sloane


                        LOS ANGELES, CALIFORNIA

                           Mr. Paul R. Mabury


                             DUBUQUE, IOWA

                            Mr. W. H. Klauer


                            PITTSBURGH, PA.

                          Miss Helen C. Frick
                          Mr. Howard Heinz


                            CLEVELAND, OHIO

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


                           DETROIT, MICHIGAN

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


                            ROCHESTER, N. Y.

                           Mr. George Eastman


                            MILWAUKEE, WISC.

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


                              DAYTON, OHIO

                           Mr. J. B. Hayward


                             BALTIMORE, MD.

                           Mr. Van Lear Black


                             DULUTH, MINN.

                          Mr. George P. Tweed


                              CANTON, OHIO

                         Mr. Wendell Herbruck
                         Mr. William S. Kinney


                            ATLANTA, GEORGIA

                           Mr. J. J. Haverty


                            DENVER, COLORADO

                        Mrs. Junius Flagg Brown


                         SAN FRANCISCO, CALIF.

                         Mr. Templeton Crocker


                            MOLINE, ILLINOIS

                          Mrs. Burton F. Peek


                            ST. PAUL, MINN.

                           Mr. Louis W. Hill


                              TOLEDO, OHIO

                       Mr. Edward Drummond Libbey


                           STOCKHOLM, SWEDEN

                      Honorable Robert Woods Bliss


                            BROOKLYN, N. Y.

                          Mr. John Hill Morgan


                       WHIDBY ISLAND, WASHINGTON

                        Mr. Frank J. Pratt, Jr.




                            PAINTER MEMBERS


                     Mr. John Singer Sargent
                     Mr. Charles W. Hawthorne
                     Mr. Frederick Ballard Williams
                     Mr. Chauncey F. Ryder
                     Mr. Frank W. Benson
                     Mr. Edwin Blashfield
                     Mr. W. Elmer Schofield
                     Mr. Oliver Dennett Grover
                     Mr. Edmund Greacen
                     Miss Helen Turner
                     Mr. Gardner Symons
                     Mr. Ezra Winter
                     Mr. Irving R. Wiles
                     Mr. John C. Johansen
                     M. Jean McLane
                     Mr. Daniel Garber
                     Mr. R. Sloan Bredin
                     Mr. Elliott Daingerfield
                     Miss Felicie Waldo Howell
                     Mr. Ernest Ipsen
                     Mr. Murray P. Bewley
                     Mr. Francis C. Jones
                     Mr. Harry Watrous
                     Mr. George Elmer Browne
                     Mr. Edward H. Potthast
                     Mr. Albert Groll
                     Mr. Frederick J. Waugh
                     Mr. Ralph Clarkson
                     Mr. Leopold Seyffert
                     Mr. John Sloan
                     Miss Cecilia Beaux
                     Mr. Roy Brown
                     Mr. E. Irving Couse
                     Miss Lillian Genth
                     Mr. Douglas Volk
                     Mr. G. Glenn Newell
                     Mr. Charles Warren Eaton
                     Mr. Harry A. Vincent
                     Mr. Victor Higgins
                     Mr. Leon Gaspard
                     Mr. Wilson Irvine
                     Mr. Charles H. Woodbury
                     Mr. George H. Hallowell
                     Mr. Birge Harrison
                     Mr. H. Dudley Murphy
                     Mr. Karl Anderson
                     Mr. Leslie P. Thompson
                     Mr. Charles Hopkinson
                     Mr. Philip L. Hale
                     Mrs. Lilian Westcott Hale
                     Mr. Cullen Yates
                     Mr. Ernest L. Blumenschein
                     Mr. Guy Wiggins
                     Mr. William Wendt
                     Mr. Ivan G. Olinsky
                     Mr. Henry W. Parton
                     Mr. Robert W. Chanler
                     Mr. Walter Ufer
                     Mr. Edward C. Volkert
                     Mr. Hobart Nichols
                     Mr. Alson Skinner Clark
                     Mr. Max Bohm (deceased)
                     Mr. Henry R. Rittenberg
                     Mr. Eugene F. Savage
                     Mr. John Noble
                     Miss Anna Fisher
                     Mr. John R. Folinsbee
                     Mr. Karl A. Buehr
                     Mr. Van Dearing Perrine
                     Mr. William Baxter Closson
                     Mr. Albert Sterner
                     Mr. Charles H. Davis
                     Mr. Paul Dougherty
                     Mr. Ben Foster
                     Mr. Charles S. Chapman
                     Mr. Louis Ritman
                     Mr. Putnam Brinley
                     Mr. Charles Morris Young
                     Mr. Wayman Adams
                     Mr. John F. Carlson
                     Mr. Henry B. Snell
                     Mr. Hugh Breckenridge
                     Mr. Paul King
                     Mr. Henry O. Tanner
                     Mr. Horatio Walker
                     Mr. Louis C. Tiffany
                     Mr. Joseph Pennell
                     Mr. F. C. Frieseke
                     Mr. Frederic M. Grant
                     Mr. Carl Krafft
                     Mr. Francis Newton
                     Mr. Julius Rolshoven
                     Miss Pauline Palmer
                     Mr. John Costigan
                     Mr. Clark Voohrees
                     Mr. H. Bolton Jones
                     Miss Gertrude Fiske
                     Mr. Maurice Fromkes
                     Mr. Percival Rosseau
                     Mr. F. Luis Mora
                     Mr. Leonard Ochtman
                     Miss Dorothy Ochtman
                     Mr. Arthur Crisp
                     Mr. Richard E. Miller
                     Mr. Paul M. Gustin
                     Mr. James R. Hopkins
                     Mr. Edward W. Redfield
                     Mr. Randall Davey
                     Mr. Ettore Caser
                     Mr. Nicolai Fechin
                     Mrs. James W. Hailman
                     Mr. A. H. Gorson
                     Mr. Eugene Higgins
                     Mr. Ossip Linde
                     Mr. Robert Reid




                            SCULPTOR MEMBERS


                   Mr. Herbert Adams
                   Mr. Robert Aitken
                   Mr. Daniel Chester French
                   Mrs. Anna Hyatt Huntington
                   Miss Malvina Hoffman
                   Mr. Chester Beach
                   Mr. Frederick MacMonnies
                   Mrs. Evelyn B. Longman Batchelder
                   Mr. James E. Fraser
                   Mr. Lorado Taft
                   Mr. Sherry Fry
                   Mr. Edward McCartan
                   Mr. Cyrus E. Dallin
                   Mrs. Bessie Potter Vonnoh
                   Mr. Attilio Piccirilli
                   Miss Janet Scudder
                   Mrs. Laura Gardin Fraser
                   Mr. Albin Polasek
                   Miss Harriet W. Frishmuth
                   Mr. Mario Korbel
                   Mr. Mahonri Young
                   Mr. John Gregory
                   Mr. Victor Salvatore
                   Miss Renee Prahar
                   Mr. Gutzon Borglum
                   Mr. Paul Jennewein
                   Mr. R. Tait McKenzie
                   Mr. Edward Berge
                   Mrs. Lucy Perkins Ripley
                   Mrs. Anna Coleman Ladd
                   Mr. A. Phimister Proctor
                   Mr. Arthur Putnam
                   Mr. Henry K. Bush-Brown
                   Mrs. Edith Barretto Parsons
                   Mrs. Margaret French Cresson
                   Miss Grace Mott Johnson




                           _An Appreciation_


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

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

                                                     William Lyon Phelps




                   “_Masters of American Paintings_”

                            _Charles Caffin_

              _Courtesy of Doubleday Page & Company, 1902_


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

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

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




                            _Modern Artists_

                          _Christian Brinton_

         _Courtesy of Doubleday Page & Company_—_The Sun, 1908_


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

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

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

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




                         _Art and Common Sense_

                          _By Royal Cortizzoz_

                   _Courtesy of Scribner & Son, 1913_


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

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

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

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




                 _American Painting and Its Traditions_

                            _John Van Dyke_

                  _Courtesy of Scribner & Sons, 1919_


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

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

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

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




                             OIL PAINTINGS


   1 Portrait of MRS. H. F. HADDEN (1878). _Loaned by Mrs. Hadden_

   2 THE LADY WITH THE ROSE—MY SISTER (1882). _Loaned by Mrs. Hadden_

   3 “POINTY” (1884). _Loaned by Mrs. Hadden_

   4 THE SIMPLON. _Loaned by Mrs. Montgomery Sears_

   5 Portrait of MAJOR HIGGINSON _Loaned by Harvard University_

   6 Portrait of EX-PRESIDENT CHARLES W. ELIOT of Harvard University

   7 Portrait of PRESIDENT LOWELL. _Loaned by Harvard University_

   8 LAKE O’HARA. _Loaned by Fogg Art Museum_

   9 Portrait of MISS MARY ELIZABETH GARRETT. _Loaned by Johns Hopkins
       University_

  10 Portrait of MRS. J. WILLIAM WHITE. _Loaned by Mrs. White_

  11 Portrait of MRS. FISKE WARREN AND DAUGHTER. _Loaned by Fiske
       Warren, Esq._

  12 Portrait of MRS. ENDICOTT. _Loaned by Mr. Wm. C. Endicott, Jr._

  13 Portrait of MRS. WILLIAM HARTLEY CARNEGIE. _Loaned by Mrs.
       Endicott_

  14 HIS STUDIO. _Loaned by Museum of Fine Arts, Boston_

  15 THE ROAD. _Loaned by Museum of Fine Arts, Boston_

  16 MASTER AND PUPILS. _Loaned by Museum of Fine Arts, Boston_

  17 HEAD OF JOSEPH JEFFERSON. _Loaned by Mr. Sargent_

  18 RECONNOITERING. _Loaned by Mr. Sargent_

  19 Portrait of JOSEPH PULITZER, ESQ. _Loaned by Mrs. Pulitzer_

  20 Portrait of MRS. EDWARD L. DAVIS AND HER SON, LIVINGSTON DAVIS.
       _Loaned by Mr. Livingston Davis, Boston_

  21 PORTRAIT OF A LADY. _Loaned by Mr. Augustus P. Loring_

  22 Portrait of MRS. AUGUSTUS HEMENWAY. _Loaned by Mrs. Hemenway_

  23 Portrait of EDWARD ROBINSON, ESQ. _Loaned by Mr. Robinson_

  24 EGYPTIAN GIRL

  25 SYRIAN GOATS

  26 SPANISH STABLE

  27 CAMP FIRE. _Loaned by Mr. Thomas A. Fox_

  28 ROBERT LOUIS STEVENSON. _Loaned by Mrs. Payne Whitney_

  29 Portrait of JOHN HAY, ESQ. _Loaned by Mr. Clarence L. Hay_

  30 Portrait of MISS ADA REHAN. _Loaned by Mrs. G. M. Whitin_

  31 Portrait of MR. AND MRS. FIELD. _Loaned by Pennsylvania Academy of
       Fine Arts_

  32 Portrait of MRS. CHARLES E. INCHES. _Loaned by Mrs. Inches, Boston_

  33 Portrait of MRS. ADRIAN ISELIN. _Loaned by Miss Iselin_

  34 THE HONORABLE MRS. FREDERICK GUEST. _Loaned by Mrs. Phipps_

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

  36 Portrait of GENERAL LEONARD WOOD. _Loaned by General Wood_

  37 THE SULPHUR MATCH. _Loaned by Mr. Louis Curtis_

  38 Sketch of EDWIN BOOTH. _Loaned by Mrs. Willard Straight_

  39 A STREET IN VENICE. _Loaned by Mrs. Stanford White_

  40 CYPRESSES AND PINES. _Loaned by Copley Gallery_

  41 Portrait of MRS. HENRY WHITE—NEÉ MARGARET STUYVESANT RUTHERFORD.
       _Loaned by Honorable Henry White_

  42 Sketch of MRS. HENRY WHITE—NEÉ MARGARET STUYVESANT RUTHERFORD.
       _Loaned by Honorable Henry White_

  43 Portrait of MRS. JOHN J. CHAPMAN. _Loaned by Mrs. Richard Aldrich_

  44 VENETIAN INTERIOR. _Loaned by Carnegie Institute_

  45 Portrait of HOMER SAINT-GAUDENS AND MOTHER. _Loaned by Mrs.
       Saint-Gaudens_

  46 GRAVEYARD IN TYROL. _Loaned by Robert Treat Paine, 2nd_

  47 MUSSEL GATHERERS. _Loaned by Mrs. Carroll Beckwith_

  48 THE FOUNTAIN. _Loaned by Art Institute of Chicago_

  49 Portrait of MRS. CHARLES GIFFORD DYER. _Loaned by Art Institute of
       Chicago_

  50 Portrait of MRS. THOMAS LINCOLN MANSON. _Loaned by Mrs. Kiliaen Van
       Rensselaer_

  51 MOORISH COURTYARD. _Loaned by Mr. James H. Clarke_

  52 VENETIAN BEAD STRINGERS. _Loaned by the Buffalo Fine Arts Academy_

  53 INTERIOR—THE CONFESSION. _Loaned by Mr. Desmond Fitzgerald_

  54 Portrait of MISS KATHARINE PRATT. _Loaned by Mr. Frederick S.
       Pratt_

  55 Portrait of MRS. EDWARD D. BRANDEGEE. _Loaned by Mr. Brandegee_

  56 Portrait of PETER CHARDON BROOKS, ESQ. _Loaned by Mrs. R. M.
       Saltonstall_

  57 Portrait of MRS. DAVE H. MORRIS AS A GIRL. _Loaned by Mrs. Morris_

  58 Portrait of MR. AND MRS. I. N. PHELPS STOKES. _Loaned by Mr. Phelps
       Stokes_

  59 Portrait of MRS. MARQUAND. _Loaned by Mr. Allan Marquand_

  60 THE CHESS GAME. _Property of Grand Central Art Galleries_




                              WATER COLORS


  61 PALMS

  62 SHADY PATHS—VIZCAYA

  63 BOATS AT ANCHOR

  64 DERELICTS

  65 THE POOL

  66 MUDDY ALLIGATORS

  67 THE BASIN—VIZCAYA

  68 THE LOGGIA—VIZCAYA

  69 THE BATHERS

  70 THE TERRACE—VIZCAYA

  71 THE PATIO—VIZCAYA

                    _Loaned by Worcester Art Museum_

             72 THE MIST. _Loaned by Mrs. J. D. Blanchard_

[Illustration:

  32 Portrait of MRS. CHARLES E. INCHES

  _Loaned by Mrs. Inches, Boston_
]

[Illustration:

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

  _Loaned by Honorable Henry White_
]

[Illustration:

  11 Portrait of MRS. FISKE WARREN AND DAUGHTER

  _Loaned by Fiske Warren, Esq._
]

[Illustration:

  31 Portrait of MR. AND MRS. FIELD

  _Loaned by Pennsylvania Academy of Fine Arts_
]

[Illustration:

  9 Portrait of MISS MARY ELIZABETH GARRETT

  _Loaned by Johns Hopkins University_
]

[Illustration:

  7 Portrait of PRESIDENT LOWELL

  _Loaned by Harvard University_
]

[Illustration:

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

  _Loaned by Harvard University_
]

[Illustration:

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

  _Loaned by Mr. Phelps Stokes_
]

[Illustration:

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

  _Loaned by Mrs. Hadden_
]

[Illustration:

  5 Portrait of MAJOR HIGGINSON

  _Loaned by Harvard University_
]

[Illustration:

  59 Portrait of MRS. MARQUAND

  _Loaned by Mr. Alan Marquand_
]

[Illustration:

  33 Portrait of MRS. ADRIAN ISELIN

  _Loaned by Miss Iselin_
]

[Illustration:

  30 Portrait of MISS ADA REHAN

  _Loaned by Mrs. G. M. Whitin_
]

[Illustration:

  29 Portrait of JOHN HAY, ESQ.

  _Loaned by Mr. Clarence L. Hay_
]

[Illustration:

  10 Portrait of MRS. J. WILLIAM WHITE

  _Loaned by Mrs. White_
]

[Illustration:

  50 Portrait of MRS. THOMAS LINCOLN MANSON

  _Loaned by Mrs. Kiliaen Van Rensselaer_
]

[Illustration:

  22 Sketch of MRS. AUGUSTUS HEMENWAY

  _Loaned by Mrs. Hemenway_
]

[Illustration:

  18 RECONNOITERING

  _Loaned by Mr. Sargent_
]

[Illustration:

  8 LAKE O’HARA

  _Loaned by Fogg Art Museum_
]

[Illustration:

  14 HIS STUDIO

  _Loaned by Museum of Fine Arts, Boston_
]

[Illustration:

  51 MOORISH COURTYARD

  _Loaned by Mr. James H. Clarke_
]

[Illustration:

  17 HEAD OF JOSEPH JEFFERSON

  _Loaned by Mr. Sargent_
]

[Illustration:

  19 Portrait of JOSEPH PULITZER, ESQ.

  _Loaned by Mrs. Pulitzer_
]

[Illustration:

  36 Portrait of GENERAL LEONARD WOOD

  _Loaned by General Wood_
]

[Illustration:

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

  _Loaned by Mrs. Hadden_
]

[Illustration:

  34 THE HONORABLE MRS. FREDERICK GUEST

  _Loaned by Mrs. Phipps_
]

[Illustration:

  23 Portrait of EDWARD ROBINSON, ESQ.

  _Loaned by Mr. Robinson_
]

[Illustration:

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

  _Loaned by Honorable Henry White_
]

[Illustration:

  45 Portrait of HOMER SAINT-GAUDENS AND MOTHER

  _Loaned by Mrs. Saint-Gaudens_
]

[Illustration:

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

[Illustration:

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

  _Loaned by Mr. Livingston Davis, Boston_
]

[Illustration:

  43 Portrait of MRS. JOHN J. CHAPMAN

  _Loaned by Mrs. Richard Aldrich_
]

[Illustration:

  37 THE SULPHUR MATCH

  _Loaned by Mr. Louis Curtis_
]




                   _Facts Concerning This Exhibition_


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

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

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

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

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

------------------------------------------------------------------------




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[Illustration:

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[Illustration:

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]

[Illustration:

  Pat. 1877 Spanish 18th Century
]

[Illustration:

  Pat. 3455 Spanish 16th Century
]

[Illustration:

  Pat. 1751 Spanish 17th Century
]

[Illustration:

  Pat. 3095 Spanish 16th Century
]




 _Two Centuries of Frame Making_

In the year 1721 in a small Flemish village lived Grieve, a famous maker
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tastes of the great painters of his time.

The best mid-eighteenth century frames were made by him and his
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had to be surrounded by a frame chosen artistically and with due regard
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work of art.

Neither chance nor fashion entered into their construction. On the
contrary, they were the result of a distinctive aesthetic sentiment for
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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
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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
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The American Grieve has progressed with the times. He has revolutionized
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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
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                            Macbeth Gallery

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                                   ❦

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                              INCORPORATED




[Illustration:

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

 _Steinway & Sons and their dealers have made it conveniently possible
                  for music lovers to own a Steinway.
  Prices: $875 and up, plus freight at points distant from New York._


      STEINWAY & SONS, Steinway Hall, 109 E. 14th Street, New York


[Illustration:

  THE RESTAURANT SURPRISE FAMILIAR
  TO THE CONTINENTAL TOURIST

  VOISIN

  375 PARK AVENUE
  ENTRANCE 53^{rd} ST. NEW YORK
]


                _Correct Lighting of Valuable Paintings_

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

                            FRINK REFLECTORS

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

                           I. P. FRINK, Inc.
   24th St. and 10th Ave., New York      Branches in Principal Cities




[Illustration: AETNA]

[Illustration: AETNA]

                             The paintings
                      in this exhibit are insured
                                under a
                            Fine Arts Policy
                                with the


                               Automobile
                           Insurance Company
                           of Hartford, Conn.

                           _affiliated with_

                      Aetna Life Insurance Company
                     Aetna Casualty and Surety Co.

[Illustration: AETNA]

[Illustration: AETNA]


                           DeLANOY & DeLANOY

                              _INSURANCE_


                     TWO WALL STREET      NEW YORK


                          LAVEZZO & BRO. INC.


                         _DIRECT IMPORTERS OF_
                            ITALIAN ANTIQUE
                             FURNITURE AND
                           WROUGHT IRON WORK


                    154 EAST 54th STREET    NEW YORK




                          ANTIQUE WORKS OF ART

                      _Furniture_      _Paintings_

[Illustration:

  _Portrait painted in 1884 by John S. Sargent_
]

                             KIRKHAM & HALL
                     31 East 57th Street, New York

                    WILLIAM KIRKHAM       GLENN HALL


[Illustration:

  “FOREST OF ARDEN” _By_ ALBERT P. RYDER

  From the A. T. Sanden Collection just acquired by Ferargil, Inc.
]

                             _Offering the_

                         American Masterpieces

                       _By_ Albert Pinkham Ryder

    _Just transferred from the Metropolitan Museum of Art, New York_

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


                 _Exhibition of Works by Horatio Walker
                  February 16th until March 4th, 1924_


                       MESSRS. PRICE and RUSSELL
                            607 FIFTH AVENUE
                                NEW YORK


                  _PACKERS AND MOVERS OF WORKS OF ART_

                            ESTABLISHED 1867


                          W. S. BUDWORTH & SON

                       COLLECTING AND PACKING FOR
                      ART EXHIBITIONS A SPECIALTY

                       _TELEPHONE COLUMBUS 2194_


            424 West Fifty-Second Street      New York City




[Illustration:

  _Marie Sterner_ _Albert Sterner_
]

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

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

                  Mrs. Wm. Payne Thompson, _President_
               Mrs. Egerton L. Winthrop, _Vice President_
                   Mrs. Muriel Boardman, _Secretary_
                       Alaric Simson, _Treasurer_
                       Marie Sterner, _Director_


                             INTERNATIONAL
                                 STUDIO

                        PEYTON BOSWELL, _Editor_

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

                           75 cents the Copy

                         _Published Monthly by_
                       INTERNATIONAL STUDIO, INC.
                     49 West 45th Street, New York

                           6 Dollars the Year


                             _The_ ART NEWS

                   An International Newspaper of Art

                        PEYTON BOSWELL, _Editor_

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

              _Published Weekly from October 15 to June 30
               Monthly during July, August and September_

                     $4.00 a year. $4.35 in Canada


                 49 West 45th Street      New York City


                          ARLINGTON GALLERIES
                        CHARLES E. HENEY, PROP.
                    274 MADISON AVENUE      NEW YORK
             _Established 1908_      TEL. MURRAY HILL 3372


                       _Paintings of Quality by_

                           Thomas Sully
                           George Inness
                           A. H. Wyant
                           Homer Martin
                           Ralph Blakelock
                           Robert Spencer
                           Robert Reid
                           Daniel Garber
                           George Bellows
                           Bruce Crane
                           Martha Walter
                           Paul Cornoyer
                           Gari Melchers
                           Thos. Gainsborough
                           J. B. C. Corot
                           A. Schreyer
                           Josef Israels
                           Narcisse V. Diaz
                           Jules Dupre
                           Chas. Jacque
                           H. W. Mesdag
                           Martin Rico
                           Alfred Stevens
                           J. G. Vibert
                           J. C. Cazin
                           C. F. Daubigny

                        AND OTHER NOTED MASTERS


                                 CANVAS

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

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

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

                       Devoe & Raynolds Co., Inc.
                         New York       Chicago




[Illustration: K-C]

                             KENT-COSTIKYAN
                              FOUNDED 1886
                      485 FIFTH AVENUE—SIXTH FLOOR
                                NEW YORK

                       _Opposite Public Library_

                                   ❦

                              _IMPORTERS_

                        Antique and Modern Rugs

                                 _from_

                 Persia, China, India and the Caucasus

                                   ❦

                    _Rugs woven to order in Orient_




[Illustration: logo]

                  Arden Studios, Inc. & Arden Gallery

                         Mrs. James C. Rogerson

                            599 FIFTH AVENUE

                                   ❦

                 _Interior Furnishings and Decorations_

                                   ❦

            Wood Paneling _and_ Painting—Period Furnishings
           Hangings, Silks, Velvets, Cretonnes, Rugs, Carpets
              Original Treatment _of_ Walls _and_ Ceilings
            Painted Furniture _from_ Exclusive Arden Designs

                                   ❦

   _Interesting exhibitions bearing educationally upon Decorating and
       Furnishing are held at frequent intervals in Art Gallery_


      Consultations with Mrs. Rogerson may be made by appointment




                               REINHARDT
                               GALLERIES


                           Their New Address

                            730 Fifth Avenue
                        _Corner of 57th Street_

                                New York


                               PAINTINGS




[Illustration:

  _Pearls_
  _Jewels_
  _Precious Stones_

  DREICER & C^o

  _560 fifth Avenue
  New York_

  PALM BEACH
  _Jeannette Building
  Lake Trail_
]




                           M. KNOEDLER & CO.

                          (_ESTABLISHED 1846_)

                         _High Class Paintings_

                       By Old and Modern Masters


                      Select Water Color Drawings
                        Old and Modern Etchings
                             Old Engravings


               Old English Mezzotints and Sporting Prints

               Competent Restoring      Artistic Framing


                                 LONDON
                           15 Old Bond Street

                                 PARIS
                            17 Place Vendome

                                NEW YORK
                          556–558 Fifth Avenue




                             SCOTT & FOWLES

                            _Art Galleries_

                            667 FIFTH AVENUE
                     Between 52nd and 53rd Streets

                             NEW YORK CITY

                                   ❦

                         _Paintings_ _Drawings_

                                   ❦

                              _BRONZES BY_

                             _PAUL MANSHIP_

------------------------------------------------------------------------




                          TRANSCRIBER’S NOTES


 1. Silently corrected obvious typographical errors and variations in
      spelling.
 2. Retained archaic, non-standard, and uncertain spellings as printed.
 3. Enclosed italics font in _underscores_.
 4. Denoted superscripts by a caret before a single superscript
      character or a series of superscripted characters enclosed in
      curly braces, e.g. M^r. or M^{ister}.



*** END OF THE PROJECT GUTENBERG EBOOK 70823 ***