Evening star., 1938-09-18


etchings by Whistler assembled with
exceptional taste and Judgment by the
late Julius Garfinckel and bequeathed
to this institution upon his death. Not
only are these etchings exceedingly
noteworthy in themselves, most
valuable bequest, but they induce two
interesting lines of thought-the full
ness with which Whistler is repre-
sented in Washington and the high
estate to which prints have come since
he as very young man, was draw
ing maps for Government depart
ment in Washington. To relieve his
boredom he ornamented their margins
with little sketches, by no means ger
name.
The Freer Gallery of Art possesses
q large collection of paintings, draw
ings and prints by Whistler rs well as
his famous Peacock Room"-a suffi-
cient representation, Mr. Freer thought,
to establish forever his high standing
A both painter and printmaker. To
the Library of Congress. however. Mr.
and Mrs. Joseph Pennell, his official
biographers and devoted friends, left a
vast collection of Whistleriana, COM
prising prints, catalogues of exhibitions
and correspondence. to which additions
are continually being made from a
fund given the library for the purpose
by the same generous donors. Now the
Corcoran Gallery of Art has come into
possession of this small, but extremely
we'll. chosen collection of Whistler etch-
ings through the generosity of Mr..
Garf1nckel Even Rembrandt is not
20 completely commemorated in his
natal city.
WHEN Mr.. Freer offered his collec-
ton to the Nation. under most
liberal terms. there was some discus
sion on the part of those in authority
AS to wether or not Whistlers fame
would be lasting, his place in art for
all time assured. 1t was fair ques-
ton and would seem to have been
answered in the Affirmative There
seems today little reason to believe
that Whistler may not for all time be
numbered among the iMmortals But
the basis for this conviction is not
the originality of his paintings or
their merit and the contributor to art
made by them, but rather the quality
Of his prints. AS an etcher he. was
undoubtedly among the greatest the
world has produced.
The great etchers from the time of
Rembrandt to the present day can be
numbered on the fingers of one hand
~-and among these is Whistler. In all
probability it was Whistler the etcher
that attracted and held the friend
&hip of Joseph Pennell-ardent print
maker. who. beginning as an illustrator.
did more perhaps than any other to
quicken interest in prints and induce
fine production. Whistler was more
than content to produce-the creative
instinct in him was strong-also the
ego. What he did was to him Of the
= utmost Importance
Pennell delighted in producing, but
was most deeply concerned with the de-
velopment of the art. His was an ideal
OF perfection. and whatever fell short
thereof raised his indignation and
brought forth stinging reproof. BY his
works as examples. his writing and
teaching he was constantly striving
to improve standards and increase in
terest. Finally, when he died, he left
the whole Of the considerable fortune
he had arnassed through his work, to
the Library Of Congress, to continue
his efforts along these lines and en-
courage the gifted among cbming gen.
erations. In other words. whereas
0yoc OF
personifies the spirit of printmaking
and is largely responsible for the de-
velopment in this field today His por-
trait, admirably painted by Wayman
Adams, represents him at work at his
printing press. This canvas has, hap
PLY. been purchased through the
Ranger Fund and will some day be
included in the National Collection of
Pine Arts.
TN LISTING Whistler among the
greatest five etchers of all time
there was no intention of limiting the
number of those who have attained,
and rightly, to very great distinction
IN this field. In all probability there
has never been a time when so many
good prints were produced and skill
along these lines been so widespread as
the present. Also print prices have re-.
mained fairly stable in an otherwise
unstable art market. Indeed, 1t Is an
astonishing fact that prints may be
regarded as much safer an investment
than many highly reputable stocks.
There was time, before the crash
OF the late l920s, when the leading
print sellers Of New York guaranteed
to buy back. at any time any print
they sold at the actual selling price
These days have passed, but it is not
an uncommon thing for a print by
vell-known etcher or photographer to
double in value within six months of
publication. Also it Is interesting to
note that in the sales reported by lead
Ing auction rooms last season the
works OF certain contemporary etchers
brought from $500 to something over
81 ,000-a large sum when it is re-
membered that no such print is
unique, being originally issued in edi-
tionS Of so to 100 This should en-.
courage rather than discourage print
collecting, for almost all prints upon
publication sell for price we'll within
the means Of those of slender purse.
Etchings by Whistler, which now
bring from $1,000 to $4,000, could
have been bought on publication at
about $20-or, in sets, even less. The
same Is true Of George Bellows litho-
graphs. In buying prints, however.
one does not merely take a sporting
chAnce-knowledge and intuition must
govern choice-the one a gift of the
gods, the other to be obtained through
study and association. For those who