Evening star., 1944-07-16
By Leila Mechlin.

For the first time in some years q
large section Of the william T.
Evans collection of American paint
tngs is on view in the National
Museum.
This collection, comprising ap-
proximately $50 works by outstand-
ing artists, was given to the Nation,
under custody Of the Smithsonian
Institution, In 1907, less than q year
after decree Of the Supreme Court
of the District of Columbia had
legalized the existence Of a National
Art Gallery in the city of Washing
ton. Mr.. Evans had been collecting
works by American artists for some
years. In fact, when in 1900 he sold
the. accumulated works that hac
gradually filled to overflowing his
home in Montclair, N. j., the prices
brought did much to fix values for
current production in this field.
Some of the works then sold were
bought in by the seller and thus the
nucleus of what was later to become
the National Collection was formed
From the first high standard was
established and sustained.
Sought to Aid Others.
Mr.. Evans interest in American
painting went deeper than merely
collecting. From his boyhood he
had been interested in art and de-
sirous of becoming an artist. In
fact, he studied architecture and
began its practice when young
man, but for family and economic
reasons he abandoned, reluctantly,
q professional career for mercantile
business. For many years he was a
member of the firm of Mills g. Gibbs,
wholesale dry goods merchants Of
New York. IF I cannot paint pic
lures myself" he was won't to say,
II can at least help others to do So"
In 1907 Mr.. Evans collection had
again overflowed its bounds, cover
ing the walls of his home, and also
the gallery, improvised, in the loft
of his stable. Then it was that he
evolved the plan Of making gift to
the Nation, thereby honoring the
artists and sharing with the world
at large the pleasure he had enjoyed
in collecting.
The offer was made to the late
William H. Holmes, then serving as
director of the National Collection,
and by him communicated to the
head of the Smithsonian Institution,
Charles D. Walcott. The original
proposition was the gift Of about IS
paintings by outstanding artists, but
the number was almost directly
raised to so, then 86, then 100, and,
finally, to paintings by 100 painters,
some, like Inness and Winslow
Homer, being represented by more
than one work each. Again and
again when an artist exceeded his
earlier best" Mr.. Evans arranged
for withdrawal and replacement.
While strong in his. likes and dis
likes, Mr.. Evans was far from opin-
donated, and freely invited guidance
and criticism, especially from his
friends among the artists.
Momenfons Meefing.
The present writer had the privi-
lege Of attending the momentous
meeting held, quite Informally, in
the Corcoran Gallery Of Art, be-
tween Mr.. Evans and Mr.. Holmes.
At its conclusion, the former turned
to his wife and said, well, what do
you think of our plan?" Mrs. Evans
response was immediate and direct.
II think it is fine" she said, adding
"but you must remember to give
only your best" This was the spirit
in which the gift was made and the
collection subsequently built up.
The Evans National Gallery col
lection had its first showing in the
Corcoran Gallery, as gallery space
in the National Museum was not
then available. In 1909 it was trans
ferred to the museum, where it re-
manned on view for some time. The
Gellatly collection crowded it out OF
three galleries, on acceptance, but
plans for National Gallery were
then in the wind AID the with
drawal Of :, large portion of the
Evans collection was regarded as
merely temporary. Mr.. Evans died
In 1918, but through the bequest OF