New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1875-12-27
AMERICAN ART FRAUDS.
,rrrEp FROM JAMES JACKSON JARvES.

ARTISTS MhlhpD.
TO the Editor OF The Tribune.
SIR: Ii is to be regretted that the Court. IN
the ate trial OF Connolly agt Hcay for libel, etc. CON
fined itself solely in its decision to the question OF uei
nation OF character So far as the art FRAUDS are CON
earned the charges against the individuals aSsaed ana
the general stigma on American sculpture III Italy to
main where they but unfortunately with increased
h,t,erncss OF personal feeling One cannot wonder ~
thi. result II Healy has been actuated solely Dy inc
iaudabe desire put end TO an abuse Affecting our
national character abroad he should not be nade 10 SUI
fer n criminal sentence while the other SIDE II thore
la no grounds for his accusations should have Deeh
CLEARLY shawn by straightforward means, and thai mere
rersnal abuse has been made the minor scope OF the case
against him and his organs. The Court possibly was "
competent TO decide the art problem but there "o'
ways enough have brought the real issue 50 unnsA
ably before il that public opinion could not nave peeh
left, "a now irritaby divided as 10 facts Although
what constitutes an art fraud should have Decn
first settled before naming the cuprts IL was from
the outset left vague by the aceusers' whose
attacks long the trial came OF had maze OF the
whole question quarrel OF individual interest rather
than candid fight for truth. Thus it has happened ta'
tha sole pont definitely settled to the tgants Is the
meaning OF the Tuscan aw OF libel Having expereheeu
It's tender Inercies in the form of fine ana
on one side and disappointment of damas ana the h"
clearing up Of character on the other let us nope '
The appeals to higher courts will be confined TO ornsug
ON, the real facts and discarding all the aDmostlcs
which have hitherto oioudcd the matter Incorporate
yerpose lneubrations and loose accusations prove
nothing II Messrs Connolly, Mead, Turner Could
park Harriet Hosmor, ". Story and the rest OF our
scuptors guilty of the practices charged iot u DC IN
dubitby demonstrated without boring the puDhc WIN
irrelevant topics. We do care for the g0cd name %
.r,erican sculpsre but not straw whether Mr. Hcaly
approye or not OF what MT Connolly or any other artist
he dislcs wears whose society he keeps or any OF '
individual habits and predictions and SIN less whether
he was once dentist, tradesman, or shOeback Ihefe
is only question that Is our concern Is nc oAPac
of doing the work he sells as his 0wnt its merit Is
separate affair for man may be very genuine sc'uI
tor and still very poor one
will now try show thc true character ana MINUS %
this question and who are responsible for art frauds
IT'S by no means q discovery of Mr.. Healys Long be
fore he saw Italy IL topic of discussion N the STU
dios here Generations previous, doubtless like causes
had nroduced similar effects Art fraud Is as Old as ART
itself because such human nature that no sooner does
good idea invention come into being lan It's counter
felt appears beside it, and often for while gets the
upper hand All that Mr. Heay has done IN the abstract
IA regards question itself Is to give newspaper pup
Hcity TO current opinions against his own eountrynen
which even If well founded do not make them worse
sinners than others. against whom no such hue ana cry
has ever been raised
Take the wclLknown instance OF Count dOrsay, who
gained distinction and money both painter and scul
tor was made Director Of the Museums OF France, ana
VET was Obliged TO have paettes made with the names
of the col1rs painted their order on the rm because
he could not distinguish one from the Other HIS
actual work was beneath criticism. but bis osten-
sble WORK was praised. for he employed at regular
salaries capable artists carefully hidden from
tho sight Of his patrons, To do ms work ID
his there can be no question OF downright art fraud
with the intent to gull the public, and hemay stand as
fulblown type Of this class Of nposort and notable
example % the transient success that soetimeS ATTENDS
their cheating.
How about ourselves in the "line Of business r.
Drsay coveted social distinction and the reputation OF
artistic accomplishments more than money by
adrotly playing bis part be won ms gamo hut III the end
his career, like all things based ON lie, proved -
wretched tascO and brought him no true satisfaction
As people we for riches than fame, and foI
fame chiefly it helps to wealth We like 10 be reputed
wise aud clever impatient OF the labor necessary
even 10 up appearances and cover up the spurious
of sufficient the immediate
object and trust to luck or our wits for Inc utufr
Hence in our selfdeusOns there Is asuperhcialty III
synpathy with our average notions of culture genius
duty and life generally. This is a fccng psychology
cal phenomenon OF an ambitious, youthful race, winch
imperfectly recognizes comprehends its aesthetic
and intellectual ideal but IL steadily openins
It's eyes to a sounder appreciation Of its pnr
poses Of being. Meanwhile art, being hut loosely
defined and interpreted 10y the average cit zen solely ~
the plane Of his material faculties. guided by his business
habits and training, is swHyed by notions hostile o. o.
free and hcathful existence Patrons ANA producer.
view it through the medium OF a false atmosphere Z
SeIueflllN our ar Is IN luc idl N'i- q" "
ness and hond-slave Of its ways of looking 1 things
Orr unframed unesthetc buyers either look for ,rca
bargains IN the limited ranges OF The realistic or stni
mental art which alone please, them, or else take dcl
tie pur5cqr0ud ostenat0n Of vauinS Object, accoIdA
% what they pay for them. Consequently the iespohs
bty Of tie demand for purely business art rests VIII
the general buyer who unv,tngy becom's he real au
thor Of art frauds He is exceedingly crircal-"lsi-
nately his ignorance and as Indifferent 10 advice IN
his own interests steaucnsne TO altar OF roses Il
he wOulG but study art with the same e1rnesneSs h
iyes 20 science or whatever advances his material
wealth he would speedily create 50 high standard Of
taste as 10 drive all charlaans 10 the wall ana induce
The feeble though sincere artist 10 seek some occupation
more compatible with his own and his comirys good
trust We are slowly settling down 10 tbs condition
Meantime pseudo art is very profitable II IS fashion
able 10 have There end Of gr' NJ men aon2
rs to erect monuments TO- and Of volunteers to take
them on contract" fresh from pursuits which give
them solid advantages the quiet true artist III
knowledge of the ways OF obtaining them Hence our
deuge businessart made 10 order Ike shp or loco
motive but wisely guarded in the spc'hcations
from ignorance on both sides Art thus falls into the
hands OF the bornandbred money geter-with what Cor
lorn results we shall better know when We have. ar a
people risen the level OF wholesome judgment
OF art itself
What have we right to expect OF man, contracts"
In hand Who coming TO Italy to establish ms studio
exclams on seeing the cnNiabe fortune acquired IN
twenty years by another, 4" in ten years / vii
be richer than he" and means 10 be as good
as his word What. too. Of him whose first care
after setting up imposing studio, with n sign
IA staring and vOluminOus patent medicine adyer
tisement at home, staff Of skilled workmen
q put his ideas into marble, naively telling them
his intentions. and stipulating that they must
be rapid workers He gets his hands at cheap
wages stocks his shop with nanes dear at any price
and soon docs a fOurshing trade, with the style OF
patron down. suited 10 his goods. There may he
some merit in details, when the main idea is
,ace Of art for the Italian workmaH loses hla