Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1889-05-08
SPECULATION IN PICTURES.
Purchasers Who Stake More Than They
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Purchasers Who Stake More Than They
Can Afford ON Signature.
During the past 20 years or so, says a writer
in GduJofs, a kind of speculation in pictures
has been developed, which is worthy of the
close attention of every thinker. So far has il
gone that many painters Of renown are quite
as much fnanciers as they are artists. Art
collections used formerly to be very rare. That
was before everybody dabbled more or less in
stocks, and when money gained with difficulty
was seldom risked, but allowed to increase only
according to the rules Of political economy.
Little by little speculation has become general.
When money is easily gained a taste for the
fine arts is quickly developed. Sumptuous fur
niture, curIosities of art, and excellent can
vases are bought regardless of cost. This is
the opportunity Of the speculator in pictures.
As soon as it became manifest that purchasers
were able to resell at a profit they found host
of im1tators, whose galleries are bought for the
mere purpose of selling them again to advan-
tage. OF course, many artists have made for
tunes by the change, and the mothers of mar
riageble daughters have come to look on the
artist not, as formerly was the case, as a mere
detrimental, but as desirable and eligible
choice.
Let US glance for moment at the purchasers,
those imprudent gamblers who so often stake
more than they can afford on signature, the
future value of which is as much a matter of
chance as the performance of an untrIed year
ling. How many artists. in fashion for a time
fail to maintain their positions? The taste in
frivolous painting is as changeable as the shape
of lady's bonnet; it has its season and van
ishes. The essential thing is the demand from
England and America, but especially the latter
If England grows cold in its admiration, if
America hesitates, canvaseS accumulate in
French hands and depreciste in value with
startling swIftness. The custom is to establish
a kind of monopoly. A dealer contracts for
every picture which comes from a successful
artists studio. No one can obtain one save BY
Gates formed for the exploitation of a master,
or rather of producer reputed as such. 1t is
exactly, as may be seen. the manner of the
Stock Exchange applied to the production of
art. Now in these conditions don't think that
the picture of 100000 francs loses its hold all at
once But it goes down in value gradually,
from the fact of many people claiming to pos
signature has been sold right and left and the
possessor of the genuine article is unable to ex-
pose the fraud.
The writer concludes with some hints for
purchasers. would not have you believe he
says that all amateurs are so ignorant, butgreat
Numbers Of them are ready to take gosling
for swan. Then it Is not necessary even to
"faken modern pictures. A mere change of
name transforms the daub of a nobody into a
masterpiece of Courbet or Millet or Corot or
Troyon. And the world is filed to-day with
false pictures which 1t is difficult to detect and
which so years hence no one will dare even to
call in question. Those who are to be p1tied
are not the collectors who buy in the belief
that they are making good inyestment-if
they speculate they must take the risks of it
but the artists, whose markets are spoiled and
whose remuneration is curtailed by fraud, over
which they can exercise no control,