Evening star., 1937-01-23
Bv Leila MechHn.
Y IMPORTANT part oi

Op Lena MeCHttH.
A N IMPORTANT part Of the
~ magnificent art collection
~ which Mr.. Mellon Is giving,
\ with unparalleled generosity,
to the Nation Is the group Of historical
portraits, mostly by early American
painters, assembled over a consider
able number of years by the late
Thomas B. Clarke of New York. This
group comprises ITS paintings by 70
to 80 artists dating from the seven
teenth to the early nineteenth century,
and is the most comprehensive Of its
kind in existence.
Thomas B. Clarke, who brought
this remarkable collection together,
was born in New York City in 1848,
and from early manhood was deeply
interested in art. He began collecting
when he was only "a and continued
it with zeal throughout his lifetime.
With the collectors instinct, he was
tireless in his pursuit of fine examples,
sometimes waiting patiently for years
for opportunity for acquisition, and
repeatedly retiring exhibits in favor
of works adjudged better or more rep
resentative.
Mr.. Clarke was, however, not merely
q friend of art but of artists. The
Thomas B. Clarke prize of $500, given
annually by the National Academy of
Design for the best American figure
composition shown in the academy's
annual exhibition, was founded by him
in 1884, and many young artist was
helped over rough places by his en-
couragement as we'll as patronage.
Mr.. Clarkes chief interest was COL
iecting portraits of important person.
ages by early American painters, or
at least by those who first practiced
and upbuilt this art in America. From
time to time the works he acquired
were exhibited at the Union League
Club and the Century Association in
New York, of both of which he was a
member.
At the former these exhibitions,
beginning in 1921 and continuing fer
some years. became annual affairs
and of much note. For each of these
Mr.. Clarke prepared and printed a
descriptive catalogue, giving data not
only about the painters but the Sitters,
very Informative and vastly engaging.
In none of these does Mr.. Clarke's
name appear either as lender or COM
piler. The COMMITTEE on Art" merely
expresses its thanks to "a former
chairman" for cooperation in assem-
bling, cataloguing, etc. But every one
in touch with the art world knows
who the nameless person was. Grad
ually the Clarke collection became
outstanding.
MR.. CLARKE died in January,
1881, and shortly thereafter the
collection was offered for sale by the
trustees through the American Art
Association, auctioneers, New York,
with the stipulation that it be sold
en- bloc. The sale was scheduled
for a day in June, and the auction
room was thronged, but when it was
stated that not less than s1,250,000
would be accepted as minimum
bid, there was silence and the collec-
ton was withdrawn. All sorts Of
rumors followed. 1t was reported
at one time that the collection would
be broken up and disposed Of item by
item, which would have been great
pity. In February, year ago, an
nouncement was made that the COL
lection had been bought en- bloc by
M. Knoedler & Co., and in September
1t was revealed that the purchaser
was in fact Mr.. Mellon. AS was
stated at the time, the Knoedler pur-
chase was published, that this COL
lection was appraised for taxes at
100000, but as an historical record
Of early America it is invaluable.
When including this collection in
his gift, Mr.. Mellon stated very clearly
that the intention was to regard 1t
as the nucleus of National Portrait
Gallery to be established at some later
time, rather than as more than tenn
porarily a part of the proposed Ma
tional Gallery of Art. Obviously,
comparatively few of the paintings
in the Clarke collection are artistically
I'D to the standard that Mr.. Mellon
has set and upheld for his own COL
lection of masterpieces. But some are,
and these may eventually be given
placement with the world MASTER
pieces.
Probably among these is the So
called Vaughan" portrait of WASH
ington by Gilbert Stuart. This was
painted in Philadelphia in 1895 and
was taken to England the same year,
engraved and published, by Holloway.
an English engraver, in 1895. 1t re-
mained in the possession of the Vaug-
han family until 1851, when it was
purchased by Joseph Harrison and
brought back to America. Stuart Is
said to have offered it to the State Of
Massachusetts, for 81 900. At the Har-
rison sale In 1912, 1t brought $l6,100,
and 1t is now appraised at $l75,000.
Mr.. Clarke coveted the possession OF
this painting for more than 20 years
before he was finally able to acquire
It. There are no less than 20 por-
traits by Gilbert Stuart in this collec-
ton.
AN INTERESTING souvenir of
Stuart is the group portrait,
Gilbert Stuart's Family and Painting
ROOM" by Washington AllSton, the
South Carolinian VIM went with. .