New-York tribune., 1921-01-15
Rare Collection
Of Tapestries
Put ON Display
Pieces Hanging in American
Galleries Include Part of
Set That Karel van Man.
der Designed at Delft
Flemish Weaves Shown
Pictures That Are ON View
Are From French, Holmes
and Other Collections
By Royal Cortissoz

"A crowded array of interesting things
IS hlllng the American Art Galleries
Just now-all manner of things from
various sources. The big entrance gal
iery provides something like a sensa-
tion. 1t is hung with huge tapestries
part of a collection of twenty-odd
pieces consigned by different foreign
and domestic owners. First in this
group comes magnificent Renaissance
tapestry (No. 17), catalogued as part
OF set designed at Delft by Kayel van
Mander. 1t is tangle of figures set
against rich landscape background,
the latter including the usual Dutch
houses and church steeple. 1t lis a
type not often seen here.
Flemish weaves are conspicuous
among these tapestries. There is ono
set of three sixteenth century designs
illustrating the romance of Titus and
Berenice. The classical motif. is ham
died with the monumental touch char.
acteristic of Italy, but there goes with
this the vivid realism, the charming
naturallstic quality which we associate
with the Low Countries.
Two Early Gobelins
There are some other notable Flem-
lsh tapestries. We NAV cite particu-
larly the regal banquet scene of the
seventeenth century (No. 19) and the
ltalianate design of a more conven-
tional order (No. 18). In the French
group there are two early Gobelin
tapestries (Nos. 21-22) commemorating
Louis XIV and certain of his ladies.
Inese pieces are of exceptional brill
lance in color, and the catalogue Justly
notes their wonderful state of pres
ervation. All the specimens in this
collection, in fact, are in unusually
good shape. They are of representa-
tive historical character, and artist
cally they reach standard rare in the
auction room. The sale on the after.
noon of January 21 will be one of the
events of the season.
The pictures on view are from half
dozen different collections. Those
brought together by the late julius E.
French, Of Cleveland, are from old
Dutch artists and from the Barbizon
school. The ]. G. Holmes estate, of
Pittsburgh, is represented by modern
French, Dutch and American pictures.
Barblzon and other modern works
come from the collections of the late
Helen c. Bostwick, Mrs F. S. Smith
ers. the late Charles G. Roebling anl
others. There are 167 paintings cata-
logaed. They are to he sold in the
ballrom of the Plaza on the evenings
of January 20 and 21.
Guards 'fVenice'' Gem
Inc omnibus sale is often some
what tantalizing miscellany, having its
high lights, but including too much
mediocre stuff. There is what we
might call an infusion of common
place pictures in the present instance;
out the bulk of the exhibits is in
teresting and in some cases rise to an
edfylng level Mr.. French's old mas
ters form one of those groups which
address themselves to the connoisseur
who is not looking for sensational
things but is content with a merely
good picture. The "Venice" (No. 111)
Of Guardi, for example, is little gem.
The French pictures are of decidedly
minor character, but those of Dutch
origin, the examples of Molenaer,
Hoet and Van Bergen, are all works OF
merit.
There is one early Dutch painting
which belongs, perhaps, on the sensa-
tlonal plane, which is to say that it l.;
q museum piece from famous hand.
This is the "Noah" of Paul Potter, a
curious blend of academic and natur-
ahstlc modes. The precise drafts
manship and the dry luminosity Of
Potter are beautifully illustrated. 1t
IS fine canvas and striking souvenir
of one Of the singular figures in the
history of Dutch art.
The special virtue of the mass of
modern work shown lies in the abun-
dance Of such pictures as are best
, characterized as good to live with, pic
lures reasonable in scale, pleasant in
subject and we'll representing distin-
gulshed men. The modern Dutchmen
! are present in handsome form. One of
the, two pictures by Israels, "The Shoal
Fisher" marks divergence from that
| modesty of scale TO which we have Just
alluded. 1t is tall canvas, better
| fitted for public gallery than for a
private one. 1t happens to contain, at
the same time, some of the tenderest
painting, the purest tone, this artist
ever put to his credit. Blomers, Mauve.
| Offermans and one of two others Of the
school are shown in good examples.
Mi let an Absentee
Jongkind, who has his point of con-
tact with the impressionalistc hypoth-
ess, is here in single canvas, the
Scene at Delft" and that is beauty
! BY the brilliant Belgian who settled in
Paris, Alfred Stevens, and revived in
his way the magic of Yer Meier, there is
fine Lady in White" painted on
panel. The figure is, of course, dated
by her long since out-moded costume.
But the technique has no date. The
art of Stevens is perennial in its en-
chantment
The French school is illustrated in
such variety that it is little surpris-
ing to find nothing on the walls from
the impressionists. They alone are
missing. The men of 1880 are to be
reckoned with, not precisely at their
full strength, but in characteristic
enough pieces. Corot and Daubigny,
Dupre and Diaz figure effectively in
the ensemble. and there are two or
three good Troyons. Millet is absent
Among the modern Europeans there are