The news scimitar. (Memphis, Tenn.) 1907-1926, 1920-01-14
THE
TAKING EUR0PES ART AWAY FROM Her
DIV I~pENEpTT T LIACHrN
BY FREDERIC J. HASK1N.

rying art to the factories, the homes of
the working people, and to the schools
It is admitted by those opposed to the
triumph of American money over Euro
pean art that it would not be so bad
II Americans had stuck to their former
method of paying large prices for bogus
works OF art. That was different. Then
they obtained all the pleasure of buy
ing great masterpieces without incon-
veniencing Europe at all. .
But now" complained a prominent
membe of a British art society re-
Gently, they want the real thing. Your
American collectors have learned. They
are now very astute collectors, who
know precisely what they want and can
afford to pay the price for it. They are
vastly different from those who used
to come to buy our pictures, just to
decorate the blank spaces on Their
walls"
The days when whole factories in
europe were devoted to the manufac-
ture of Reubens and Corots to supply
the demand for American millions are,
indeed, gone. 1t can't be lone any
more. Only recently a flood of paint
lngs by Cezanne attempted to deluge
the art market and was promptly
checked after three had been sold. The
Cezanne market is dead for some time
to come. An American collector must
be supplied with absolute proof before
he will Buy one of them.
In fact, American art dealers have
become so very astute that they will
sacrifice real art treasures before they
viii take a chance on them. A New
York art dealer who has just returned
from England tells, with some regret,
for example. of an opportunity he
missed in London of securing a gen
uine Reubens. 1t was one of several
old masters recently discovered by a
British rector, he said, In an old, un-
used room Of his rectory. The rector,
according to the dealers story, had
come upon this remarkable room
through an ancient sliding panel. which
accidentally yielded to his touch, re-
Vealing a dark, dingy room that he had
V suspected was a part Of his home.
Entering the room somewhat gingerly,
he had found the paintings. which Brit
ish art critics have subsequently de-
clared to be genuine. One Of them was
a four-oak plaque, covered with years
of dust, which, when brushed off, re-
vealed a perfect example Of Reubens
at his greater period.
~ was a good story" remarked sthe
dealer dryly. "hut | nave heard plenty
OF that type bcfors, Nevertheless, this
particular one happered to be true, and
II I'd believed it I'd have secured a
great bargain. They're asking $50, 900
Tor v now,
You know, that's what makes our
business so fascinating" continued the
dealer ruminatively. THE chance in a
hundred that Wen get something GEN
uine for little or nothing. That's why
so many of us are practically European
commuters now, II we find only one
old master in a life time, It's enough to
make or double our fortune"
Happen 10 know The Red Can one
Of the most important pictures Of the
late Mr.. Tricks collection" he asked.
We'll. that pictrre was peddled through
the streets Of London only about 10
years ago nv some unknown tramn. who
carried it under his arm. wrapped in a
neTsnaDer, He asked 20 mounds for It
and was laughed at. Finally Sir Hugh
Lane discovered it in a dingy London
au%ctionNroom, took it home and cleaned
It, and found 1t was a Titan. Mr..
Frick bought it from him at. a stiff
price.
But there isn't so much of that any
WORE" hn concluded Sadly. "Tf we
know what we're buying when wo 60
10 Enronn now tho collectors over there
also know what they're selling u. And
they can howl about US going off with
all their .mastNrni"ces. but, believe me
we pay for them