The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1878-12-07
absurdity on my part that don't. think could


overlooked. :
O. Did it take You much time to paint the Nocturne
in Black and Golds" How soon did You knock i ons
u.aughter.) A. knocked il off possibly in couple
OF daysone day to do the work ana another 70 hhsn
O. After partly painting it did you put it up to
mellow? tI4aughter) Do you ever hang these pic
lures up the garden wall? A. do not put up
the ..Nocturne" nor any other picture to mellow;
should be grieved to see my paintings neiiowed-
aauslterbut do put my paintings IN the open ar
O. And that was the labor for which you asked zoo
guineass A. No; it was for knowledge gained
through lifetime. Applause
MUST SEEN BE APPRECIATED.
Mr. Baron Huddleston said that II this manifesto
ton of feeling repeated he would have to clear
Cross-examinaton resumod:-Q. You know that
many critics entirely disagree with yo1r views as to
these pictures? A. 1t would be beyond me to agree
with the critics. Naughter.)
9. You don't approve of criticism? a. l should
mot N any way o. a Of ba
which lie crlticses, but for the opinion OF man
whose life is not 50 passed would have as little
on law.
@ You expect to be criticised? A. Yes, certainly;
and do not expect to be affected by IT until 1t comes
to be of this kind.
The Attorney General here proposed to produce the
''Nocturne in Black and Gold
Mr. Sergeant Parry objected that the court was not
a fit place to exhibit the picture in.
Mr. Baron Huddleston thought it would be scarcely
fair that an artists pictures should be shown IN
Cross-examinaton contnued:-Q. What was the
subject of the "Nocturne in Blue and Silver given
to Mr.. Graham? A. moonlight effect near Old Bat
tersea Bridge
Q. What has become of the "Nocturne in Black and
GoldY' A. believe is before you.
q. You have not sold it? A. No, but have de-
posted it.
9. You cnn get itp A. It would be very difficult;
believe you have it faughter).
Tie Attorney General proposed to show to the jury
the "Nocturne in Blue and Silver"
Mr.. Sergeant Parry said it would be more conven-
lent ii n room could be obtained the, Immediate
neighborhood for the jury TO see the collection Of
Mr.. Whistlsrs pictures.
Tho Attorney General decidedly objected to an ex-
hibtion of Mr.. Whistler's paintings. because Mr..
Ruskin had only dealt with those which ex-
those pictures to which Mr. Ruskin referred should
be seen by the jury.
Mr. Sergeant Parry urged that inasmuch as the
almost charged with being an imposter. he had
right to show to the jury what his works had been.
Mr.. Baron Huddeston thought that, in justice to
Mr.. Whistler. the jury should have the benefit of
seeing the pictures.
The Attorney General said that, after His Lord
ships observation. the impression would be THAT he
dealing unfairly il tho jury not allowed to
see the pictures. He aid not wish it to be supposed
that he was in any way acting ungenerously.
Mr.. Baron Huddleston said that, so far as he was
concerned he had to tell the jury simply what was
much assisted in dscharsing that duty by going
to tho Westminster Palace Hotel and seeing the pic
lures Besides he had already them in the Gros
venor Gallery.
"a PRIVATE VIEW"
Mr. Sergeant Parry said the "Nocturne in Black and
Gold !" with some others had been deposited with a
gentleman IN the Strand who had been summoned
to produce Four Of them. Those four were now. he
believed in court-two produced as by the plaintiff
and the other two as by the defendant.
Mr. Baron Huddleston suggested that these four
pictures might be placed among the others in the
Westminster Palace Hotel for the inspection Of the
jury;
effect old Battcrsea Bridge. alluded to by Mr..
Whistler in his evidence, was produced in court.
Cross-examnation resumed THAT is Mr.. Grahams
picture. and is the ''Nocturne in Blue and Silver:"
it represents Battersea Bridge by moonlight.
Mr. Baron Huddlcston-Is this part OF the picture
at the top old Battersea Bridge? (Laughter.)
Witness-Your Lordship is too close at present to
the picture to perceive the effect which intended to
produce at distance. The spectator is supposed to
be looking down the river toward London.
Q. The prevailing color is blue A. Yes.
O. Are those figures on the top of the bridge in
tended for people a. They are just what you like.
q. That barge beneathY A. Yes lam very much
attcred at your seeing that the thing intended
ply representation of moonlight: my whole
scheme only to bring about certain harmony of
color: the picture produced) is "Nocturne il Blue
and Silver; it is picture OF the Thames by moon
light. looking up the river near Battersea.
z. How long did it take you to paint that picture?
A. completed the work OF that in day after hay
ing arranged the idea in my mind.
Re-cxamined by Mr.. Sergeant Parry The pictures
have produced the portrait Of Mr.. Carlyle aud
picture OF young lady, which have not been ex-
Ibited in the Groevenor Gallery besides those por
traits have produced one other nocturne picture;
the picture OF Philip is . mere sketch unfinished
there is another picture which at Grosvenor
called "A Variation in Flesh Color and Green;"
there is another, representing the seaside and sand
called Harmony in Blue and Yellow" the s'Noc
turne in Black and Gold" the one to which Mr.
Ruskn alluded; this subject of the arrangement of
colors had been life study to my mind the pictures
are painted oil generally from my own thought and
mind; sketching on paper IL very rare with me.
q. Do you conscientiously form your idea and then
conscientiously work it out? A. Certainly.
q. And these pictures published by you for the
purpose of a livelihood? A. Yes.
Q. Your manual labor ia rapid? A. Certainly,
IT this stage Of the proceedings the Court adj
journed for the purpose of enabling the jury to see
the pictures N the Westminster Palace Hotel.
"a SocrUENE."
The jury having returned into court. the Moe
turne in Black and Cold which represented the fire.
works at Creiporne was produced and exhibited to
the jury
BY tie Attorney Gencral-This is Cremorneg
q. How long did it take you to paint thatg A. One
whole day and part OF another that is = finished
picture; the black monogram in frame placed in
its position 50 ~ not TO put the balance out.
q. You have made the study of art your study Of O
lifctime what Is the peculiar beauty Of that picturea
A. II would be impossible for me TO explain to YOU
am afraid. although dare say could to a sympa-
thetic ear.
O. Do you not think Mr. Ruskin might have come
to the conclusion that it had particular beauty?
A. think there is distinct evidence that he did, do
lot think that any artist would to that conclu-
SION have known uninfuenced people recognize
that it represented fireworks.
q. You Offer that picture to the public as one Of
particular beauty az work OF art and which IL fairly
have colscientously executed and which think
worth the money; would hold my reputation upon
this as would upon any of my other works.
Re-oxamined by Mr.. Sergeant Parry-That picture
was painted. not as Offering the portrait of particu
lar place but artistic impression which had
been carried away? A. Many OF my works are
sketches of scenes the Thames; 1.-Two on the En-
bankment.
William NJ. Rossett tho art critic of the London
Academy Mr. Albert Moore, an artist and Mr.. w q.
wills the dramatic author then gave evidence as to
the high artistic quality or the plaintiffs works crit.
ciscd.
Mr.. Sergeant Parry then said--That is the case.
The Attorney General submitted that his learned
friend had made out whatever, as he had not
shown malice
Mr.. Baron Enthusiastically this Ia Q question
for the jury AZ IL stands by itself IL IL calculated to
hold Mr.. Whistler up to rdculc, but the question is
whether 1T comes within tho license of privileged
critic ought TO be wise enough to form right iudp
me amt bold enough TO express it, Iit be an honest
and fair criticism II privileged and whether in this
case the criticism Is fair ~ point TO be decided
The Lord Ubcf Justice of Common Pleas, in a SINH
lar pointed out that the plaintiff would not be