The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-03-19
AIT SALES AND EXHIBITIONS.
Sale Of the Finest Collection Of Old.
Paintings This Season.

Mr.. Louis r.. Enrich, which are shown pre-
paratory to their sale at auction in the ball
room of the W~aldorf-Astoria on the even
ing Of Wednesday, March q. For people
who care for old paintings on their own
merits without regard to name Of painter,
pedigree or price attained at some former
sale, this exhibition is a picnic; there are so
many canvases delightful through their
beauty or interesting because of their his
torical associations. Picture sharps will
not fail to enjoy it, since 1t carries the inn
preston throughout of a collector 1who
really loves, really studies ancient pictorial
art, and furthermore Includes pictures by
artists Of the past whose work rarely crosses
the ocean.
J. Along with paintings by artists like
Bronzino, Teniers, Wouwermans, Van
Goyen, Nico!aas Macs, Mignard, Sir God
frey Kneller, Lely, Chardin, Hoppner,
Reynolds and Sir Thomas Lawrence, we
find very striking portraits by Spaniards
little known. such as j. B. del Maso,
Cereao, Bernardo de Llorente, C. de Mi
randa; by Netherlanders like Gonzales
Coques, Bellevois, Antonio Moro, and Jan
Wynants; by Frenchmen like Sebastien
Leclerc, b.. de Bar, j.. B. j. Pater, P. Valen.
tin, and Robert Tournihres, and by Britons
INV ii'ihl 'Oht 'iiiNpNht poIhi 1tilCyl
Thomas Hudson, Camillus Hone, William
Dobson and George Dave. These minor
lights of the seventeenth, eighteenth and
nineteenth centuries afford real collectors
the keenest pleasure. The timid man who
is conscious that he buys names, not pic
lures he loves, who will not venture where
he has no guide, avoids these pictures
when he sees them under their true names.
II, however, conscienceless dealers cause
the faces and hands of figures by these
minor masters to be deftly repainted and
attach to the frame the name OF a contem-
porary whose work is known over here,
then the poor collector, dazzled by the
glitter Of the title, pays a startling price for
fis gold brick.
1t is pleasant to examine a collection
where attributions are not forced, and
where this petty humbug OF repainting
faces and hands is not found. The ster-
ling portraits Of a Dutch gentleman and
his wife by Jan Viotoors are not baptized
Rembrandt or Halls, yet they exert their
charm under the proper attribution. Vic
toors worked for Rembrandt for five years;
no ordinary man, however, could have
painted this simple yet noble old Hollander.
The stout wife lacks the character shown
by the old lady by Nicolaas Macs, just
bought for the Metropolitan from the
Enrich galleries, which was reproduced In
last Sundays Times. But she is well painted
and expresses her wi strain
and individuality.
Sir, Godfrey Kneller, a Netherlander
always associated with England, appears In
a superbly grave, psychological portrait
of King William I'LL, Prince OF Orange
Nassau-if it be permitted, indeed, to mem
ton that detested name on st. Patriok's
Day in the Morning, Irishmen, however,
will be the first to enjoy the cold, disdainfu1
expression on the royal intruder's face.
which may remind them Of the quality in
Charles Parnell that mastered Parliament.
This half-length in long, curly wig and,
polished steel ouirass, 30 sad Of look and,
Disguised in expression, ought to find q
resting place in some historical museumsj
since it is a little chapter Of British history
for eyes that understand.
One of the finest portraits here is by john
Constable, the Englishman who in FranoAs
and America is hardly known except bya
landscapes. And the subject is q rarai
one-none other than Dan Mendoza, the
pugilist, who at one time patronized noble-S
men crazy about the prize ring and had his
biography printed like a oonqueron AZ
QlbdBTe6dDl0 lace ID uh WuOIn We $40 pore,
trayed in the correct attire Of a gentleman
of the period; not exactly the face Of a
bruiser, either. But how firmly and splens
didly painted From such ar example ono
argues that Constable, had he wished1.
might have become one Of the great porA
~traitists of his time.
Sir Thomas Lawrence, without b Ia frilla
and patent Cupid's-bow mouth is seen in
a norfroit ~ IN .,pknnuun lodv UhAaa nv
preston has something fateful in it-a
picture extremely attractive on Its own
intrinsic merits, requiring no shadow Of
a great name" Then take the portrait of
Francois Mouchard by Tournieres and OBJ
serve how his capital but somewhat hard
painting painter has expressed kindness
and wit in the old, urbane face with its
double chin. THE Prodigal Son, by Teniersj
combines a Biblical figure in the foreground
with a racy group Of Dutch country folk
before a tavern in the background. Pater'a
"Glutton" is riskier than the risky Dutch ~
pictures, M has the color scheme Of the ,
to which he belonged. Very lovely
is the portrait of Violante Palma removing
her necklace in a fit OF pious remuneration,
a work by some one of the Palma family.
And what a fine personality looks from the
clear eyes of the young lady assigned to
Bronzino, from Prince Sciarra's oolleotionl
Beautiful is the Twilight on a Dutch River"
by Jan vaniGoyen. and spacionsly poetic the
odd Broken Bridge by Adrian van de
Velde. Such landscapes reduce to nothing
the claims one sometimes sees in print that
landscape began with Claude and hardly
before Constable and Corot.
The double portrait of the Duchesse de
Chateauroux and the Comtesse de Flava-
court, by Natter, was reproduced and
in the Sunday Supplement several
weeks ago. 1t is likely to provoke keen
competition owing to the lively interest
nowadays in the beauties OF the
of Louis XIV. and the finer work Of
the Court painters Of France. More than
fifty artists are represented in this salei
and seventy-four is the number Of CAM
vases coming to the hammer
We have not had 50 interesting a COLI
.ection for a long time. II is a lesson for
art collectors and artists. The Enrich
- I1-;.. Ill ,,;,l . -"n to- - 4N,,x