New-York tribune., 1922-11-12
rons the painting by John Noble the REIN gallery)

association bought and then sold to
Chauchard, who left it to the Louvre,
was shown here in the same period
For some years the place was a kind of
clearing house for American and for
sign works OF art, quantities of which
were disposed of at private sale. 1t
seemed as if it would go on in that
role indefinitely; but the association
had come to interest itself in public
sales, and these presently took the
center OF the stage. The remarkable
series Of auctions which has gone on
ever since was started with the break
ing up of the George I. Seney collection
in 1885.
The historian will always observe
the date, for It marks significant
phase in American collecting. We had
begun, long before that, with few
| old masters here and there, and,
among more amateurs, with the
anecdotie paintings Of the Dusseldorf
school. We still clung to the picture
with a story In 1t. Mr.. Kirby's allu-
sions to old record prices touch upon
works by such painters as Jules
Breton, Zamacois and Meissonier. 1t
was in 1889 that Gerome's "Moliere
Breakfasting With Louis XIV" brought
| S26,300 from the late Coils p. Hunt
lington. But in that very period the
tide began to turn. We enlarged our
view of modern European art, begin
ming especially to see the beauties of
the Barbizon school and the romantics
of 1880. Seney had second sale, in
1891. Corot fell below Meissonier
then, it Is true, but picture by Millet
fetched $40,500; Troyon's Hounds"
sold for $4,000, and there were other
encouraging signs. Thenceforth in the
auction records Of the American Art
Association one could read the rapid
development Of taste amongst Ameri~
can collectors, the moro eager com
petition for Barbizon landscapes, the
appreciation of the Impressionists, the
greater vogue OF the old eInasters,
nnd-one Of the most important
phenomena Of all--the sharpening of
the public desire for the art of the
Orient and for all antiques. A whole
library, embracing g varied literature,
must go to the proper discussion OF
Americas artistic adventures in the
last forty years. Nothing in it could
be more suggestive than collection
of the American Art Associations
priced catalogues.
They represent, if ysu will, com
mercial venture, but it is impossible
for the lover of art to think Of this
organization in merely commercial
terms. They have nothing to do with
such an affair, for example, as the
Besnard show. Years ago we had the
privilege of studying Mr. Stewards
marvellous collection Of Tortunys in
his house in Paris. 1t seemed inevi- !
table then that when they finally went
to the hammer 1t would be at the |
Hotel Drouot, But when the time
came TO sell those pictares it was
judged wisest to send them to the
New Cork market, and they were sold |
here by the American Art Association. !
We forget the figures, large as they
were. But we cannot forget the eS-
hibition- Nor should the fact be over
looked that if the New York firm drew
the sale over here it was because the |
soundness Of it's methods had been
everywhere conclusivcly recognized. It |
has steadily been careful Of its stand |
ards 1t has steadily been faithful to |
the shirt Of tha }ibaraI .rfc Tibet Sc
one reason why it is pleasure to
salute it on it's entrance upon new.
lease of life, that and the, memory of |
its shining record of exhibitions.