Savannah morning news. [volume] (Savannah) 1868-1887, 1883-08-29
Painters and Prices.

In the time of Reynolds and his great
rival, Romney, the prices paid to either
for head size ranged between 30 and 80
guineas, while the other larger sizes were
in proportion, the price of a whole-length
portrait varying from 100 to 1870, or at the
outside $50 guineas. These prices were
greatly exceeded in the time of Lawrence
Shee, jackson, HOppner, Opie and 9TH
ers; but Sir Thomas Lawrence, at
the height of his fame and Court
favor, received only 100 guineas for
"head," and 500 guneas for a
''whole length" In the present day such
prices are multiplied Indefinitely, and we
hear of leading artists who receive as
much as LOCO and even 1000 guineas for a
Portrait In other styles, too, the in
crease in the value of works by living
artists has been lately strikingly ex-
emplitied, as the record of a recent sale at
Messrs. Christie's rooms will show-two
works (tdbtedNr de genre) by a highly
respectable member of the profession
having fetched 1000 guineas each.
1t would indeed be matter for
rejoicing if it were established
that the enhanced value of native
and contemporary talent is sound in
principles or would be permanent in its
character. But such a result is not only
unlikely, but in the present day, it is TO
be feared, is practically impossible. The
financial position and business calcula-
tions of Messrs. a. b. G. & Co. may make
it worth their while to pay an inordinate
price for a picture recording a popular
event or for portrait of popular states
man; but how Will the transaction which
always is allowed to transpire) affect the
future dealing of the artist with the pub
lie? VIII the latter be prepared to offer
or acquiesce in a similar scale of remu-
neratiOn when seeking to avail them
selves of the professional talents of the
artist! or must he come down from the
pinnacle of fame and fortune to
which the speculation of his enterprising
''patron" has raised him, and establish
two prices? Should he not, he will i'm
many instances lose the patronage of the
public. he must practically lower his
pretensiOns and discredit his own claims,
or run the risk Of turning from his studio
those who would otherwise be ready to
show their appreciation of his talents at
their just value. Who are they among
the public, even Of the higher class, who
in the present day-desplte bad harvests.
unOccupied farms, declining commerce.
and "no rent manifest0es-can afford to
pay the sum of 1000 guineas fol a pOr-
trait or a landscape by a living artist,
whose fame is not yet sufficiently matured
to make the operation Safe invest
ment? 1t may suit millionaire TO spend
his thousands on the portrait Of a D0liti-
cal "star," or of near and dear relative:
but the upper middle class, who, as the
majority, In the long run must be the real
patrons Of art, will. except when led into
the extravaganza Of foolish vanity, refuse
to devote a years or Il half years income
to the object of possessing a work by
popular artist. Consequently we find the
painters Of the day obliged to look to the
trade tor a continuance Of such abnormal
mi nd Hfc hoe "a. .f
ing the sale OF works by our leading
artists to those whose command Of capital
enables them to outbid all private pur-
chasers.