New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-01-20

Dloom OF this remarkable Venetian. or
Iiepolo's prodigious brio there Ia a
capital example In tho sketch for
ceiling, "Tho Last Judgment"
We glanced just now, In alludine to
two versions Of the story Of Salome,
at the difference between northern and
southern primitivism. The Italian al
ways energies triumphant from such a
test. A certain tenderness, a certain
charm, would seem to have been In
his blood. His forms are beautiful and
NO sees them from point Of view in
accord with their sentiment The
Fleming, the Dutchman, the German
may be equally impassoned. but they
never make the same fine feryor mani
fest in their works; they never achieve
the same melting beauty. On the other
hand, they have often creator
strength In execution, as we'll as
deeper note Of pure realism. The
Klenberger examples of Pieter Breu-
ghel and Jerome Bosch, of Patinir and
the Master of st. SEVERN, Of Joost van
Cleve and Jan van Scorel, make an un-
usually imposing representation Of this
colder but still imaginative art. For
tho collector, indeed, there are certain
paintings, like the Bosch Legend of
st. Christopher" or the Patinir "St.
Jerome" which are prizes as 'enviable
as any of the Italian pictures-works
Ike them are as rarely encountered in
the market. They illustrate in brilliant
form the special virtue Of the north,
It's ponderable truth. The Italian prim-
tive may watt US further toward the
things Of the spirit. The man Of the
north carries US deeper into the phe-
nomcna of the visible world. Patinir's
landscape, fanciful as it is, is also
strangely modern. The more engaging
OF the later works in this part Of the
exhibition are portraits by Amberger.
Bruyn and Cornelis de Vos, but there
are a few good specimens Of Dutch
landscape and genre-the "Tailor's
Shop" by Brekelenkam Is a gem of its
kind-and the big picture of "Joseph
Telling His Dreams" which figured in
the Lambert collection as Rembrandt
and now turns up as bearing the sigma
ture Of Jan Victoors, leaves a fairly
exhilarating impression.
There follow number of paintings
OF other schools-threc or four old
Spanish canvases, among which the
full length Of Carreno de Miranda by
himself looms in stately fashion,
first rate piece Of ordinary seventeenth
century Spanish technique, and there
are passable items of French and Eng
llsh origin. These will all excite some
interest at the sale, but the latter will
make its appeal especially through the
earlier Italian and Northern paintings.
Other collections share with the
kleinberger pictures the space at the
American Art Galleries just now.
From the estate Of the late Isaac d,
Fletcher there come many pieces of
furniture and other objects which will
be sold next Friday and Saturday
afternoons. The furniture includes
some handsome antiques. There are
several early French statuettes that
arrest attention and in fact the whole
section of sculpture is of interest.
Mr.. Fletcher seems to have had flair
for plastic art. His tapestries are of
value and so arc those in the group of
dozen or so of objects left by the
late G. +. Williamson, which are in
cluded in this sale. Finally this ex-
hibition presents a quantity of Oricn-