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

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

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.

“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.”

“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.”

“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.”

“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.”

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

Pat. 3233 Flemish Gothic 17th Century

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

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.

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

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

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

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

1632—Princess of Orange by Nicholas Maes—1693

Ehrich Galleries

707 Fifth Avenue

At Fifty-fifth Street

New York

❦

Paintings by Old Masters

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

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

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.

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

“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

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

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

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

77