The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1900-12-09
ART ASKS FOR JUSTICE
SUIT OF A PORTRAIT PAINTER
AGAINST A ST. LOUIS MAN.
The Latter Refuses to Pay for Three
$1,000 Pictures and Gives No
Reason for His Action.
st. Louis Letter in Chicago Evening Post.

Pierce, the Standard Oil magnate On the
affidavit of the latter that he could not OBJ
tain an impartial trial in the city of st.
Louis, Judge Fisher granted a change
OF venue to the Circuit Court OF St Louis
county. where at some future date the bat
tie will be fought to a finish.
Not so many people were in court as one
would expect to follow the bitter dispute
between a prominent club man and cap
italist of st. Louis and an artist of inter-
national reputation. Not even the parJci-
pants in the case were present. The ia
nous pictures were not brought into court,
and the spectators lost an eagerly expected
opportunity of comparing them with the
originals. The distinguished artists who
were to testify as experts did not bother
to stroll across from the Planters Hotel.
opposite the courthouse. n few cases OF
persons unknown 70 fame were called. and
that which bids fair to create a stir in the
world equal to the celebrated lawsuits of
Whistler or Meissonier was announced only
to be deferred.
As bitter an artistic controversy as ever
ragged is that between Henry Clay Pierce,
multi-millionaire, and Anders L. Zorn,
painter, over three $4,000 portraits. Mr..
Pierce is president Of the swell st. Louis
Club; he is also president of the Waters
Pierce Oil Company, one of those numer-
Gus businesses affiliated with the STANDARD
Oil Company, no man knoweth precisely
how. Mr.. Zorn is a Swedish painter of
worldwide repute, holding medals and
honors in nearly every capital of Europe;
he is known in Chicago, among other
things. as royal commissioner of fine arts
from Sweden to the Columbian EXPOSE
ton; is known in Pittsburg, among other
things, as the most distinguished of the
judges of awards in the international Art
Exhibition, now in progress there; is
known in Boston. among other things, as
the painter of the famous Omnibus"
owned by Mrs. John Gardner, and is known
In New York, among other things, for re-
cent superb portraits of Mr.. and Mrs.
Grover Cleveland.
SUIT IS FOR 1900.
Mr.. Zorn is suing Mr.. Pierce for s12,0 900,
said to be agreed upon as the price of three
full-length oil portraits-that of Mr..
Pierce's dead wife, that of his daughter.
Mrs. Eben Richards, and that Of the Stand
ard Oil magnate himself. The story goes
that about two years ago, when the fash
ionables and eminents Of New York were
sitting to the brilliant Swede. Mr.. Pierce,
who had just lost his wife, desired a like
ness of her. 1t would have to be painted
from a photograph, and this is a species
of commission for which few famous paint
ers care. Mr.. Zorn apparently did not care
for it. Mr.. Pierce offered TO have his own
portrait painted also. Mr.. Zorn still hest
tated. Mr.. Pierce then added that he
would also have his daughters portrait
painted. He showed her photograph and
then the artist consented.
One may imagine him arguing that three
full ranntrnftC In ~ xrrnHf6 Il
ing the trip to st. Louis. Two would be
from life and one at least appeared to be a
subject from which an interesting picture
IL was agreed TO. In February, 1899. he
came to st. Louis and painted the three
in Mr.. Pierce's residence on Vandeventer
place. Since then he has been trying in
vain TO get his money for them.
DISAGREE OVER CHANGES.
Certain changes were suggested by the
owner and made by the painter. Certain
other changes were suggested and also
were made. Still other changes were de-
sired, and then a point was reached where
the artist refused to give way lie would
do nothing so inharmonious on a canvas
TO which his name was signed. rhereupon
Mr.. Pierce refused to pay and Mr.. Zorn
brought suit for $4,000. Meantime the
three big canvases are held by a local art
dealer, where no one may see them with
out a signed permit from the attorneys on
both sides. 1t may be added that Messrs
Nagel and Kirby, representing Mr.. Zorn,
readily grant the permission, taxing the
ground that they are proud OF their clients
work; but permission is absolutely re
fused by Messrs. Johnson and Richards,
representing Mr.. Pierce. Mr.. Richards is
also Mr.. Pierce's son-in-law.
The portrait Of III. c. Pierce shows a
man OF about fifty. with gray beginning
To mipPla in his dark hair. seated at his
own writing table, amid his own favorite
surroundings. The book he holds in his
hands is a. copy of his sons poems; the
walls, the many-hued objects that lend
life and color to this picture of q bust
ness man in plain, dark, nineteenth-cen-
fury garb, are his SPECIAL treasures. lie
impresses the observer as a well-fed, we'll
gIoomed clubman with a somewhat hard
expression in his clean shaven face-a pic
ture, in short, of material prosperity.
Those who know Mr.. Pierce consider it an
excellent likeness, and those who do not,
but yet know good painting, admire the
virile treatment and the superb technique
for which this artist is famous. Why
Zorn," Alexander Harrison is reported to
have said, I'm your place L wouldn't let
him nave it. I'd keep it and exhibit it in
all the art centers."
PORTRAIT OF MRS. PIERCE.
Mrs. Pierce is represented dressed in yell
low, seated upon a green sofa, with one
arm resting upon a table, where a coffee
cup appears. The head was from a pho
tograph, which it closely resembles; the
rest was painted from a model wearing
one of Mrs. Pierce's gowns, seated in her
own room, in an attitude that made the
position of the head appear perfectly
natural. 1t is a surprisingly lifelike paint
ing.
Mrs. Eben Richards is shown in her we'd
ding dress, on a dark background. 1t is a
painting which has brought forth all Zorn's
skill in rendering textures. Viewed at the
proper distance for a picture of its size.
the lace is most real and delicate. while
the pale face, regular features and dark
hair present an impression OF refined. aris-
tocratic grace. Halsey c. Ives. on being
asked his opinion Of it, said: II consider
IL as strong an example of Zorn's works as
I have ever seen, and l have seen a large
number. So far as my knowledge of his
portraits of women goes this is one of the
most artistic he has ever produced" From
other sources il was learned that the st.
Louis Museum of Fine Arts would gladly
give this portrait a place In the permanent
collection 10 represent Zorn. and ii is ru-
mored that the board of the museum would
willingly purchase ii at the price Mr..
Pierce refuses TO pay.
WHY DOESN'T HE PAY
Why does he refuse TO pay? Some people
say because he always refuses TO pay any