New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1902-07-30
ART NOTES.

HTGH PRICES IN THE MARKET-A PAINT
ER's ANEcDoTEs-NoTEsF FROM PARIS
THE ITALIAN ART LAW.
The prices paid for works Of art in London
auction rooms this season have astonished even
veteran observers of the market. Collectors
and dealers who came from all the foreign capi-
taIs 10 assist at the dispersal Of Sir T. Gibson
Carrichael's collection of antique ivories,
bronzes and other objects Of art were surprised
20 find British and American competition posi-
lively fierce The collection brought altogether
nearly 100000. The foreigners We're sure that
they would meet with less opposition at the sale
OF Sir ]. c. Robinson's drawings by the old
masters, but again they were disappointed A
portrait in chalk by Durer for which Robinson
had paid only $50 in 1884, went to the Col
saaghis for 81, 500. "A GondoIier.'' by Carpacco,
also brought 81, 800. The drawings fetched a
total Of something over $4,000 At Christies
the other day a miscellaneous collection was
sold. In il a portrait by Romney of Miss
Sarah Rodbard, who married General Sir Eyre
Coote It is described not quite fine as
some other Romneys, but Mr.. Agnew paid 10000
guineas for IT, That high prices not paid
for great works alone is shown by the Of
Birket Foster. His is altogether an artificial
Reputation, which is certain to pass in time, yet
drawings by him have recently brought in Lon
don as much as 81 $50 and S475 apiece. We may
note also that copy of the Kelmscott Chaucer,
pn veIlum. was run up by Mr.. Quaritch at a re-
cent auction sale TO the absurd price of $500.
Is all this enthusiasm to continue? Certainly
Ii wears ambiguous air, inclining one to
speculation as to whether it represents sound
connoisseurship or fashionable craze for the
possession of costly works of art
Apropos Of crazes in the art market, II is said
shat the late Albert Moore used to relate an
amusing anecdote concerning the fad which was
once made of the works of George Morland.
There was. It appears INSCRIPTIONS dealer
who possessed a really fine example of the
painter Immediately underneath the canvas he
placed clever copy of it. The purchaser was
requested to write his address the back. AS
soon he had left the shop the genuine Nor
land removed, and the purchaser received
The copy If he had any doubt as to the identity
pf the picture it was easily dspelled. The dealer
pointed out TO him his handwriting on the back
of the canvas The trick enabled this crafty
merchant to sell his Morland several times over,
until purchaser insisted on taking the pict-
IRE home in his cab. He took it out
bf the frame and discovered that he had bought
swo canvases.
The "Reminiscences" of Frederick Goodall.
T.
aished. The book contains great many inter
ksting anecdotes. BY it some light is thrown on
s curious phase of taste among English artists
of an earlier day. Mr.. Goodali relates that when
Sir Thomas Lawrence returned from visit to
Italy just after the downfall of Napoleon had
caused rush of British artists to the Peninsula,
Rogers met him and asked: What 90 you think
the finest picture you have seen in Italy?" After
some hesitation Lawrence replied: THE Miracle
l,xyT Tintor aft I'd
answered the same question in the same way,
and several. other artists took the line.
Mr.. Goodall. when he saw the picture felt that
al these gentlemen right Certainly they
were right in regarding the Miracle of St
Mark as a great work of art. but that they
should have considered it the finest picture in
Italy must strike a modern student somewhat
queer. Mr. GoodaPs anecdotes include a quaint
illustration Of the way in which some laymen, at
least looked at art in another generation. When
Millde finished his chelsea Pensioners for the
Duke Of Wellington. he was sent for to receive
payment. and found mis- patron counting out the
100 guineas agreed upon in notes and sover-
eigns. 1T would you much trouble said
the painter, '1f you would write me a check"
''What!' retorted the duke. Let Coutts's clerks
know what a fool I have been to spend 1000
guineas on a pcture?' The present duke
offered 10000 guineas for The Chelsea Pension
ers." II it were TO be offered at auction to-day
81 IS doubtful if it would fetch more than the
1900 guineas originally paid for it. and per-
haps it would not fetch even that amount
Mr.. GoodaIl tells many piquant stories of Tur-
Ber once picture of his and of Con-
ttabIes hung side by side. Turner's painting
Mas gray In tone and so harmonized with its
companion. But he presently came along and
painted in a red sun. thereby pretty nearly
Rnnihilatfng the work Of his neighhor. Turner
asked Sir Robert Peel 600 guneas for THE
Building Of Carthage" though he had asked
only 500 for it on the previous day, and when
the statesman came prepared to pay the higher
price It was raised again, this time to 700
guineas. Peel indignant, whereupon the
artist said: II am only making fun of it; ! do
not intend to sell the picture al; it shall be
my winding sheet" Rogers heard of the Incl
dent, and called upon Turner. asking what he
had done with his work. The picture is in my
cellar" said Turner. "and it shall be my wind
ing sheet but Rogers's remonstrances saved
the masterpiece. which is now the property of
the nation Another anecdote describes a col
loquy between Turner and Mr.. Graves about a
9rlissing picture which the artist was anxious TO
find The dealer asked for sketch of the sub
sect on a sheet Of note paper, and when this was
made he deposited It in a drawer. mo-" ex-
claimed Turner. You not going to run
away with my drawing like that; it VIII fetch
something day." and he took back the
drawing placing it IN his pocket
The postponenent of the coronation played
havoc among black and white artists in Lon
don. Dozens of them had been engaged TO make
drawings for the journals which had decided to
illustrate the event. and, of course, they did
great deal of preliminary work. One artist