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THE SUN, THURSDAY, FEBRUARY 16, 1899.
CLARKE PICTURE SALE.
ADDED PROOF OF ESTEEM FOR
AMERICAN PAINTINGS.
Those Sold Last Evening Brought Even Better Prices Than Ruled on Tuesday—$5,600 for Inness's "Wood Gatherers" the Top Figure—Bric-a-Brac Sold in Afternoon.
Ninety-three more paintings out of Thomas B. Clarke's collection were sold last evening at Chickering Hall. The attendance was larger than on Tuesday evening and the buying was discriminating. The absence of dealers as any large factor in the buying is not in the least discouraging to the managers of the sale or to Mr. Clarke, who rather welcomes the somewhat diversified appreciation shown of his judgment as a collector of American artists' work.
Although the total of last evening's sales was somewhat less than that of the first night's. while the number of pictures offered was the same, the sale was regarded as even a better one than Tuesday's, taken as a whole, inasmuch as the number of small and unimportant paintings in the night's catalogue was greater than in Tuesday's. These smaller examples brought higher prices proportionately than those of Tuesday, and the total number the selling price of which was less than Mr. Clarke had paid for them was only one-quarter of the whole lot, as against one-third of those sold on the evening before. Several of the Innesses, however, went at prices which could not be called high, and there was a general confidence expressed that a very few years would see an advance in the commercial value of all of them.
The high figure for the night was fetched by an Inness, and beat Tuesday evening's high price, which was commanded by Homer Martin, by $100. It was $5,600, paid by George A. Hearn for the exquisite "Wood Gatherers." The spectators applauded when the bidding got to $5,000, but the bidders were not yet finished. The total for the evening was $50,555, which, with the $54,040 of the first night's sale, makes $104,595 for the paintings so far sold, or half, in number, of the whole collection.
The sale of Mr. Clarke's objects of art was begun yesterday afternoon, and the $12,568.50 realized from that makes the proceeds of the entire sale to date $117,163.50. The afternoon sale presented some interesting features which will be referred to below. "The whole country has been down on Spain and things Spanish," was the facetious remark made by one spectator at its close, "but certainly those Moorish potters who in the sixteenth century took their art into Spain were vindicated today."
The remark was elicited by the fact that little more than half a hundred of the Hispano-Mauresqua plaques sold for $9,082.50, the figures for the individual sales running from $200 or $300 to $1,200. The afternoon sales, like those of the evenings, are likely to grow rather than lose in interest. This afternoon the Chinese porcelains are among the pieces to be put up.
The two paintings that most worked up the bidders last evening, aside from the "Wood Gatherers," were Winslow Homer's strong "The Life Line," and the same artist's splendid marine, "Maine Coast." The paintings sold at within $100 of each other. The "Maine Coast" came the earlier in the catalogue, with its fine surf bursting in the air high above the rocks, and the foaming waters bubbling between the boulders lower down, and the billows of the open ocean rolling beyond. The spectators applauded when the bidding, which had started at $1,500, jumped from $3,300 to $3,500, and again when it passed the $4,000 mark. The painting went to F. A. Bell at $4,400. "The Life Line" was the last number on the catalogue. A thousand dollars was the opening bid for it. It is the picture formerly in the Catherine Lorillard Wolfe collection. It is said that that owner paid $3,000 for it. It did not take long for the bids last evening to get above that figure, and it looked for a time as though the New York public would have the painting here for its delectation hereafter. The Metropolitan Museum of Art permitted the painting to go to Pennsylvania, perhaps for $50. Thomas E. Kirby, the auctioneer, when the bid reached $4,500, cried it for a long time and held his gavel poised, reluctant to close at that figure. The advances had all been by $100 or more. Finally he said: "I'll take $50 from you." But the New Yorkers were mum, and George W. Elkins of Philadelphia took the painting.
The ten Innesses sold last evening are to be pretty well scattered. C. J. Blair of Chicago got "A Sunny Autumn Day" for $4,100. E. McMillan pair $1,400 for "The Mill Pond," and had some lively competition. Laflin Kellogg got "Autumn Silence" for $1,325. For the "End of the Rain" $500 and $600 offers were scorned, and the first bid called was $1,000. The painting went to Louis Marshall for $1,550. J. S. Bache took the "Rocky Dell" at $550. Robert Blum (whose "Toledo Water Carrier" sold last night for $290) go the "Afternoon Glow, Pompton, N. J.," for $1,650. G. W. Curtis got "Night" for $710. The buyers of some of the lesser ones were not announced.
The people in the hall expressed their gratification at the announcement that Charles H. Davis's "The Deepening Shadows" and Charles Melville Dewey's "Edge of the Forest" were to go to the Corcoran gallery at Washington.
The sale of the first catalogue division of Mr. Clarke's art objects, both those of large value and those of interest mainly curious, or having the interest of oddities, at the American Art Galleries in the afternoon, showed some surprises. That this sale, no less than the sale of the paintings collected by him, had attracted a good deal of attention was evidenced bu the considerable number of people drawn to the largest of the galleries in Madison Square, where the auction took place, as well as by the numerous orders sent in both by telegraph and telephone even after the sale had begun. It was evident that the conditions of travel had kept away persons who desired an opportunity to bid on some of Mr. Clarke's selections. The sale also gave indications of the change of public taste, the bids on some of the numbers going well beyond the prices paid for them by Mr. Clarke, while on articles of a wholly different class they fell so far short as to cause some remark. The classes showing the most noticeable diversities were the Hispano-Mauresque porcelains and the Persian objects. The former presented some remarkable advances on previous prices, and the latter all but went begging. Some commercial houses, however, will reap profits by no means meager on purchases of the Persian goods.
There has been no sale of what is, in common parlance, called bric-à-brac within the last few years with which the best of Mr. Clarke's objects of art, sold at auction, may be compared, except that of the collection made by Charles A. Dana. Although in its entirety that collection stood by itself, there were in it specimens which present a comparative for some of Mr. Clarke's. And Mr. Dana's collection is represented in the Clarke sale by some purchases made when it was out up at auction. At yesterday's sale of No. 51 on the Clarke catalogue, a large Hispano-Mauresque plaque of brilliant copper lustre, which Mr. Clarke bought for little more than $300 at the Dana sale, sold for $650.
Another plaque of this class which is declared to be among the most perfect plaques in this country, although no stress was laid upon its merits or excellence yesterday, No. 55 of the catalogue, sold at $1,200, which figure it reached from the start of $365. It was bought by W. R. Hearst. Another private buyer, who shrank behind a pseudonym, paid $510 for one of these plaques in copper and blue, with brilliant lustre, No. 21 of the catalogue. The exquisite specimens of this particular decoration, which were fairly numerous in the offerings of the afternoon, were very attractive to the buyers and bought from $200 to above $400 each. The names of the dealers were frequent among the buyers, among whom were numbered Henry Sampson, D. G. Kelekran, Stanley and Nardus, and George A. Hearn, "Richman," Greenshields, W. R. Hearst, Mrs. Wood, Mrs. Williams, Cox, Mrs. Sherwood, Mr. Einstein, Benjamin Knower, John Crosby Brown, who purchsased a Shiraz drum, it was understood, for the Metropolitan Museum; Pierre Lorillard and Mrs. Ickelheimer.
Among some of the minor interesting purchases in the Persian and Indian catalogue was a fourteenth century mosaic faience tile, in turquoise, yellow, green, brown and blue, 5 1/2 x 6 1/2 inches, which was picked up by a watchful dealer at $23, and a most attractive little Persian money box, 3 1/2 inches high, of the seventeenth century, with a setting of turquoise and engraved, which George A. Hearn got at what appeared to be the bargain price of $4. A fifteenth century copper plate of mosaic design went at $2, and an Arabian carved rosewood and ivory back-scratcher at the same figure. Mr. Lorillard's purchase of a seventeenth century long dagger with a white jade handle at $20 was said to be made at less than the value of the jade alone. Some old Persian book covers, too, were sold at very low prices.
The paintings selling at $400 and above are as follows, with the purchaser's name where announced:
103. H. Bolton Jones's "Sandy Shore;" W. M. Laffan..... $400
109. J. Francis Murphy's "A Sunny Morning" 450
111. Inness's "Night;" G. W. Curtis..... 710
117. D. W. Tryon's "Starlight;" G. L. Jewett 400
118. A. H. Wyant's "Twilight"..... 425
123. Winslow Homer's "The Bright Side;" S. P. Avery, Jr...... 525
136. Charles Sprague Pearce's "Meditation;" Metropolitan Museum of Art..... 510
138. D. W. Tryon's "November;" A. C. Bedford..... 950
149. Winslow Homer's "Rations;" E. H. Bernheimer..... 500
150. Inness's "Afternoon Glow, Pompton, N. J.;" Robert Blum..... 1,650
154. Charles C. Curran's "Breezy Day;" Pennsylvania Academy of Fine Arts..... 625
155. Inness's "Rocky Dell;" J. S. Bache..... 550
157. William A. Coffin's "Sunrise in January"..... 550
160. Inness's "End of the Rain;" Louis Marshall..... $1,550
165. Inness's "Autumn Silence;" Laflin Kellogg..... 1,325
168. Winslow Homer's "Maine Coast;" F. A. Bell..... 4,400
169. Inness's "Wood Gatherers;" George A. Hearn..... 5,600
172. F. D. Millet's "Lacing Her Sandal;" E. Weston..... 900
179. D. W. Tryon's "A Dewy Night—Moonrise;" James Quinian..... 1,000
180. H. Siddons Mowbray's "Evening Breeze;" W. M. Laffan..... 810
181. Charles H. Davis's "The Evening Shadows;" Corcoran Art Gallery, Washington..... 1,100
182. J. G. Brown's "A Merry Air and a Sad Heart"..... 850
183. Charles Melville Dewey's "Edge of the Forest;"Corcoran Art Gallery..... 1,050
184. Inness's "A Sunny Autumn Day;" C. T. Blair of Chicago..... 4,100
185. A. H. Wyant's "Early Morning;" E. McMillan..... 1,800
186. Winslow Homer's "The Life Line;" George W. Elkins of Philadelphia..... 4,500
THE SUN, FRIDAY, FEBRUARY 17, 1899.
CLARKE PICTURE SALE.
INNESS'S FAMOUS "GRAY LOWERY DAY" GOES FOR $10,150.
Remarkable Price for a Picture That Was Painted in One Day—The "Clouded Sun," Another of Inness's Masterpieces, Brings $6,100—Total for the Night, $61,220.
The weather did not keep away from Chickering Hall last night the people who had evidently already made up their minds to be on hand at the sale of the third section of Mr. Thomas B. Clarke's paintings and to bid freely on them, and in some cases liberally, almost enthusiastically. A price was made for an Inness which will please the lovers of that artist's work, although they may say that there are other examples worth a great deal more than the highest priced picture of last evening and of the Clarke sale so far. This was the "Gray, Lowery Day." It was No. 260 in the catalogue, and it was bid up to $10,150. A number of people had come prepared to buy this painting, and some of them had felt reasonably confident in their guesses of from $1,200 to $1,800 as the price of it. They were badly fooled, as a number of other persons expected them to be. The first bid offered was $2,000 and the price went almost immediately to $4,600. At $6,000 the spectators applauded, and again at $7,000. After the bids had reached $7,600 the first advance at less than $100 was made. The price climbed to $8,000, and on by $50 and $100 advances to $9,000, with applause at each thousand. At $10,000 the hearty applause was irrepressible, and Mr. Kirby gave the people their way for a few moments before attempting to get another bid. The price climbed to $10,150, and everybody in the house was happy. Requests for the purchaser's name were made, but Mr. Kirby was unable to get the bidder's permission to announce it. It was bought by Henry Sampson, who had among his competitors William R. Hearst and some others. Among the admirers of the painting when it was on exhibition in the American Art Galleries was the wife of a well-known broker, who is known as a purchaser of some fine paintings, and it is understood that he was represented among the bidders. This picture has already attained fame, and has been seen by a great many people. It was painted by Inness in 1877 in one day. It is said that Mr. Clarke paid $400 for it. It is a canvas 16 x 24 inches, full of foliage and verdure and water courses, with an atmosphere saturated with moisture from sky to earth.
The Corcoran Art Gallery was again a purchaser last evening, among its purchases being Bolton Jones's "Springtime," at $700, and Picknell's "Road to Concarneau," for $1,100. Winslow Homer's "The Gale," a fisherman looking out above the surf into a windstorm, was bid up rapidly from the start of $1,000 to $1,625. It was bought by J. Harsen Rhoades. Louis Moeller's "Puzzled," the old man of books brought to a standstill by some problem, had evidently been in the minds of several persons who expected to get it at a few hundred dollars, but it was bid up to $1,525.
Of the other Innesses on last night's catalogue the first one put up (No. 196), "Pool in the Woods," a work of 1872, sold at $575. Another early one, "Old Homestead—Medfield" (1866), catalogue number 211, went at $960. A "Moonlight" of 1890 (199) sold for $650, "The Glow," 1886 (221), at $850; "Twilight," 1876 (231), at $1,600, and "September Afternoon," 1887 (240), at $1,500. "Autumn Tints," 1880 (245), went for $635, and "New England Valley," 1878 (250), brought $2,050. The range went on to $2,700 for No. 266, the "Harvest Moon," and $6,100 for "The Clouded Sun" (1891). This price was manifestle, sentimental, as in the case of the "Lowery Day," a bidder raising every offer by $25. He refused to be affected bu offers of another bidder, who raised him by a few hundred dollars at a time.
George Fuller's "Romany Girl" brought out good bids, and was sent up to $4,100.
The total for the evening was $61,220, which, added to that of the two previous evenings, makes $165,815 paid for the paintings so far. Yesterday afternoon's sale of art objects yielded $16,350. With the $12,568.50 of Wednesday afternoon's sale, this brings the total of the Clarke sale, to date, to $194,733.50.
An interesting incident of last evening was the sale of the first painting bought by Mr. Clarke, 190 of the catalogue, Wakeman Holberton's "Brook Trout," a notable contrast to the Innesses with which Clarke filled his home later. It sold for $110.
The afternoon sale of Mr. Clarke's home collection of art objects, at the galleries of the American Art Association, was of a larger interest than the first afternoon sale on Wednesday, and although the attendance, on account partly of the weather, was small, it was made up of people who came prepared to buy. The number of spectators, drawn by curiosity merely, was very small. A spectator overlooking the hall at the stated time for beginning the sale remarked to a skeptical companion: "There are buyers enough here to take twice as many good things as will be offered today."
The result of the sale justified this off-hand remark. The prices of the day were good. It was so acknowledged by diverse interests, although no one set up in argument the palpable fact that a few of the offerings brought a price which represented less the value of the object than the sentimental interest of the buyer. The proceeds of the afternoon were $16,350, as against $12,568.50 on Wednesday afternoon, and 109 articles were sold as against 164 on Wednesday. So the two days' total for bric-à-brac is $28,918.50 The prices of yesterday were higher than some good judges had believed would be paid, in a number of instances materially higher. One hundred dollars was not a rare figure for the opening bid. A curious phase of the sale was the number of catalogue entries for which an unlimited bid had been sent in to the eager purchaser's representatives. On Wednesday this aspect had been remarked only in the buying of the shields—of elephant and rhinoceros hide and so on—for which a dealer evidently had carte blanche, but yesterday a number of the porcelains and potteries had evidently been marked for possession by determined buyers. In other instances the buyers themselves were present to bid up the objects of their desire.
The afternoon began favorably with the sale of a blue and white vase of the Kien-lung era (1736-95), 1 3/4 inches high, for $22.50. An earlier example of the Yung-ching era, a quarter of an inch taller, sold at $35, and a soft paste bottle, four inches tall, of the Kang-he era (1661-1722), went at $100. A Yung-ching blue and white decorated gallipot, with cracked surface (170 of the catalogue), brought $300. A Kien-lung gilt bronze incense burner in relief work (189 of the catalogue) brought $160. A jade vase four inches tall, inlaid with rubies and emeralds, sapphires and gold, brought $335 (194 of the catalogue). A bit of an amethyst bottle of the size of the first vase sold followed this at $17.50 (catalogue number 195). The next two numbers, an amethyst snuff bottle of the Kien-lung era and a Fei-tsui snuff bottle, presenting the colors of "moss and melted snow," of the same era, respectively 1 3/4 and 2 inches in height, were sold respectively at $25 and $105. The first one went to a dealer; the buyer of the second was not announced.
A temple jar, Kang-he (209A of the catalogue), sold at $310. Two hawthorn ginger jars of the same era, the bidding on which was begun at $100, went at $540 each. Of the old Chinese porcelains, single color, a Kang-he gallipot of cream white, soft paste with incised ornamentation (216 of the catalogue), sold at $225; a Wan-li (sixteenth century), ruby-colored vase (219) at $405, and its companion at $350; a Kang-he, apple-green crackled vase (221), at $390; and a 6 1/2-inch bottle with imperial yellow glaze (223), seal of Tao Kwang, 1821, which Mr. Clarke purchased at the sale of the Dana collection, at $400. This little yellow vase, which Mr. Clarke confessed yesterday that he was willing at the time to pay more for, as he had fondled it often when in possession of the former owner, and as he regarded it as one of the most perfect in this country, he secured at the Dana sale for $135.
No. 247 of the catalogue, a Kang-he bottle from the Brayton Ives sale, was bought by Mrs. Wood for $800. A Ming vase in turquoise (268) brought the same amount, and a Yuan vase (271) $700.
The full list of the paintings sold last evening, with the prices and buyers' names, except in a few instances where the buyers' names were withheld, is as follows:
187. George H. Smillie's "Low Tide;" Baron Rosenkranz..... $140
188. Winslow Homer's "The Buccaneers;" E. D. Page..... 140
189. Robert F. Bloodgood's "A Miss is as Good as a Mile;" S. P. Avery, Jr...... 150
190. Wakeman Holberton's "Brook Trout;" Baron Rosenkranz..... 110
191. D. Jerome Elwell's "Breezy Day;" J. S. Bache..... 170
192. Charles X. Harris's "The Scouts;" E. G. Bruns..... 200
193. Worthington Whittridge's "Summer Evening;" Walters.....160
194. Louis Moeller's "News;" M. H. Lehman 375
195. Francis C. Jones's "Won't Play;" T. A. Sindelair..... 660
196. George Inness's "Pool in the Woods;" B. Mansfield..... 575
197. A. H. Wyant's "The Mountain Road;" A. A. Healy..... 430
198. George W. Maynard's "Mermaid;" Louis Erlinger..... 180
199. Inness's "Moonlight;" H. R. Ickelheimer..... 650
200. J. G. Tyler's "First American Shipwreck;" Louis Stern..... 240
201. Homer Martin's "Headwaters of the Hudson;" E. McMillan..... 1,500
202. Bruce Crane's "The Water Gate;" Emory. 200
203. Winslow Homer's "Rise to a Fly;" Daniel Dain..... 175
204. Thomas W. Wood's "His Own Doctor;".....F. Rockefeller, Cleveland, O..... 500
205. R. A. Blakelock's "Entrance of the Forest;" E. McMillan..... 150
206. William T. Smedley's 'Sight Seeing;" W. M. Laffan..... 80
207. William M. Chase's "A Stone Yard;" Walters..... 130
208. George W. Brenneman's "Relics;" J. S. Bache..... 160
209. Samuel Colman's "Valley in Mexico;" E. McMillan..... 175
210. Winslow Homer's "To the Rescue;" T. L. Manson.....650
211. Inness's "Old Homestead—Medfield;" Herman Schaus..... 960
212. Louis Moeller's "Hello;" E. H. Gary..... 160
213. William M. Chase's "Prospect Park;" F. S. Smithers..... 210
214. Charles C. Curran's "Wading in the Lily Pond;" J. S. Bache..... 225
215. William H. Beard's "Eavesdropper;" Peter Doelger..... 155
216. Homer Martin's "Wild Cherry Trees;" H. R. Ickelheimer..... 175
217. Charles C. Curran's "A Happy Family;" W. O. Whitcomb..... 225
218. Charles H. Davis's "Nightfall;" Cottier & Co...... 230
219. Frederick A. Bridgman's "The Cadi's Escort at Rest;" W. D. Lockwood..... 500
220. Winslow Homer's "Rowing Homeward;" Chavler L. Freer..... 185
221. Inness's "The Glow;" S. P. Avery, Jr. ..... 850
222. Edwin H. Blashfield's "Music;" E. Weston..... 875
223. Charles Melville Dewey's "Along the Shore;" C. M. Hyde..... 325
224. Leo Moeller's "A Patriot of Valley Forge;" C. M. Hyde..... 360
225. A. H. Wyant's "Any Man's Land;" W. M. Clausen..... 550
226. William T. Dannat's "A Smuggler;" F. S. Smithers..... 175
227. H. A. Ferguson's "Mount Lafayette and Franconia Valley;" T. J. Brinckerhoff. 225
228. C. D. Gibson's "Men Must Work;" W. M. Laffan..... 115
229. J. Francis Murphy's "Woods in Autumn;" B. Mansfield..... 200
230. Winslow Homer's "Visit to the Mistress;" M. H. Lehman..... 320
231. Inness's "Twilight;" Blank..... 1,600
232. Horace Bonham's "The Issue of the Cockpit;" Corcoran Art Gallery, Washington..... 330
233. Arthur Parton's "Summer Clouds;" A. C. Humphreys...... 200
234. Gilbert Gaul's "Wounded—To the Rear;" M. H. Lehman..... 300
235. Carleton Wiggins's "Harvest Moon;" Scott Foster..... 610
236. H. Siddons Mowbray's "The Last Favorite;" T. A. Lindler..... 400
237. George H. Smillie's "Landscape, Easthampton;" E. G. Burns..... 200
238. L. C. Tiffany's "View on the Hudson;" Baron Rosenkranz..... 125
239. Winslow Homer's "Camp Fire;" A. Harrison..... 700
240. Inness's "September Afternoon;" E. C. Convers..... 1,500
241. Henry R. Poore's "Baying Hounds;" E. Weston..... 280
242. W. L. Sonntag's "A Sunlit Valley;" E. G. Bruns..... 280
243. Francis Miller's "A Local Freight Caboose;" Mrs. H. Schiussel..... 205
244. R. A. Blakelock's "Moonlight;" J. S. Bache..... 110
245. Inness's "Autumn Tints at Tenafly;" Blank..... 635
246. Thomas W. Dewing's "A Garden;" C. L. Freer..... 375
247. Walter Clark's "Sunset;" Robert M. Thompson..... 500
248. William M. Chase's "Girl in Costume;" Charles M. Kurtz..... 165
249. F. F. Church's "In the Tropics;" T. S. Van Volkenberg..... 305
250. Inness's "New England Valley;" Mrs. B. P. Cheney.....2,050
251. Charles F. Ulrich's "The Glassblowers;" M. H. Lehman.....525
252. D. W. Tryon's "Autumn"..... 760
253. E. C. Tarbell's "Amethyst;" E. Weston..... 290
254. William A. Coffin's "Choppy Sea;" Walters..... 100
255. Charles C. Curran's "Corner in a Barnyard;" J. S. Benning..... 200
256. H. W. Ranger's "Forenoon;" M. R. Snyder..... 130
257. Richard Creifeld's "Absorbed;" M. R. Snyder..... 120
258. Elliott Daingerfield's "Moonlight;" H. J. Braker..... 210
259. F. Dielman's "Puritan Wedding;" E. Weston..... 305
260. Inness's "Gray, Lowery Day;" Henry Sampson..... 10,150
261. Thomas Sully's "Portrait of a Man;" E. D. Page..... 110
262. Samuel Waldo's "Portrait of a Lady;" H. J. Brinckerhoff..... 125
263. Henry G Dearth's "Evening;" J. S. Benning..... 275
264. Carlton T. Chapman's "The Lighthouse;" A. C. Humphreys..... 180
265. Eastman Johnson's "The Pension Agent;" F. Rockefeller..... 800
266. Inness's "Harvest Moon;" ..... 2,700
267. Louis Moeller's "Puzzled;" E. Weston..... 1,525
268. Leonard Ochtman's "Moonlight Shadows;" E. McMillan..... 600
269. Winslow Homer's "Perils of the Sea;" A. C. Humphreys..... 210
270. John La Farge's "Autumn;" A. A. Healy. 330
271. Richard Pauli's "Harvesting;" E. McMillan..... 350
272. J. G. Brown's "Watching the Train;" M. H. Lehman..... 560
273. D. W. Tryon's "Winter Evening;" C. L. Freer..... 800
274. George Fuller's "A Romany Girl;" James Ross of Montreal..... 4,100
275. Thomas Allen's "Maplehurst at Noon;" A. C. Humphreys..... 450
276. Inness's "The Clouded Sun;" Knoedler & Co...... 6,100
277. Winslow Homer's "The Gale;" J. Harsen Rhoades..... 1,625
278. H. Bolton Jones's "Springtime;" Corcoran Art Gallery..... 700
279. William L. Picknell's "The Road to Concarneau;" Corcoran Art Gallery..... 1,100
CLARKE PICTURE SALE.
ADDED PROOF OF ESTEEM FOR
AMERICAN PAINTINGS.
Those Sold Last Evening Brought Even Better Prices Than Ruled on Tuesday—$5,600 for Inness's "Wood Gatherers" the Top Figure—Bric-a-Brac Sold in Afternoon.
Ninety-three more paintings out of Thomas B. Clarke's collection were sold last evening at Chickering Hall. The attendance was larger than on Tuesday evening and the buying was discriminating. The absence of dealers as any large factor in the buying is not in the least discouraging to the managers of the sale or to Mr. Clarke, who rather welcomes the somewhat diversified appreciation shown of his judgment as a collector of American artists' work.
Although the total of last evening's sales was somewhat less than that of the first night's. while the number of pictures offered was the same, the sale was regarded as even a better one than Tuesday's, taken as a whole, inasmuch as the number of small and unimportant paintings in the night's catalogue was greater than in Tuesday's. These smaller examples brought higher prices proportionately than those of Tuesday, and the total number the selling price of which was less than Mr. Clarke had paid for them was only one-quarter of the whole lot, as against one-third of those sold on the evening before. Several of the Innesses, however, went at prices which could not be called high, and there was a general confidence expressed that a very few years would see an advance in the commercial value of all of them.
The high figure for the night was fetched by an Inness, and beat Tuesday evening's high price, which was commanded by Homer Martin, by $100. It was $5,600, paid by George A. Hearn for the exquisite "Wood Gatherers." The spectators applauded when the bidding got to $5,000, but the bidders were not yet finished. The total for the evening was $50,555, which, with the $54,040 of the first night's sale, makes $104,595 for the paintings so far sold, or half, in number, of the whole collection.
The sale of Mr. Clarke's objects of art was begun yesterday afternoon, and the $12,568.50 realized from that makes the proceeds of the entire sale to date $117,163.50. The afternoon sale presented some interesting features which will be referred to below. "The whole country has been down on Spain and things Spanish," was the facetious remark made by one spectator at its close, "but certainly those Moorish potters who in the sixteenth century took their art into Spain were vindicated today."
The remark was elicited by the fact that little more than half a hundred of the Hispano-Mauresqua plaques sold for $9,082.50, the figures for the individual sales running from $200 or $300 to $1,200. The afternoon sales, like those of the evenings, are likely to grow rather than lose in interest. This afternoon the Chinese porcelains are among the pieces to be put up.
The two paintings that most worked up the bidders last evening, aside from the "Wood Gatherers," were Winslow Homer's strong "The Life Line," and the same artist's splendid marine, "Maine Coast." The paintings sold at within $100 of each other. The "Maine Coast" came the earlier in the catalogue, with its fine surf bursting in the air high above the rocks, and the foaming waters bubbling between the boulders lower down, and the billows of the open ocean rolling beyond. The spectators applauded when the bidding, which had started at $1,500, jumped from $3,300 to $3,500, and again when it passed the $4,000 mark. The painting went to F. A. Bell at $4,400. "The Life Line" was the last number on the catalogue. A thousand dollars was the opening bid for it. It is the picture formerly in the Catherine Lorillard Wolfe collection. It is said that that owner paid $3,000 for it. It did not take long for the bids last evening to get above that figure, and it looked for a time as though the New York public would have the painting here for its delectation hereafter. The Metropolitan Museum of Art permitted the painting to go to Pennsylvania, perhaps for $50. Thomas E. Kirby, the auctioneer, when the bid reached $4,500, cried it for a long time and held his gavel poised, reluctant to close at that figure. The advances had all been by $100 or more. Finally he said: "I'll take $50 from you." But the New Yorkers were mum, and George W. Elkins of Philadelphia took the painting.
The ten Innesses sold last evening are to be pretty well scattered. C. J. Blair of Chicago got "A Sunny Autumn Day" for $4,100. E. McMillan pair $1,400 for "The Mill Pond," and had some lively competition. Laflin Kellogg got "Autumn Silence" for $1,325. For the "End of the Rain" $500 and $600 offers were scorned, and the first bid called was $1,000. The painting went to Louis Marshall for $1,550. J. S. Bache took the "Rocky Dell" at $550. Robert Blum (whose "Toledo Water Carrier" sold last night for $290) go the "Afternoon Glow, Pompton, N. J.," for $1,650. G. W. Curtis got "Night" for $710. The buyers of some of the lesser ones were not announced.
The people in the hall expressed their gratification at the announcement that Charles H. Davis's "The Deepening Shadows" and Charles Melville Dewey's "Edge of the Forest" were to go to the Corcoran gallery at Washington.
The sale of the first catalogue division of Mr. Clarke's art objects, both those of large value and those of interest mainly curious, or having the interest of oddities, at the American Art Galleries in the afternoon, showed some surprises. That this sale, no less than the sale of the paintings collected by him, had attracted a good deal of attention was evidenced bu the considerable number of people drawn to the largest of the galleries in Madison Square, where the auction took place, as well as by the numerous orders sent in both by telegraph and telephone even after the sale had begun. It was evident that the conditions of travel had kept away persons who desired an opportunity to bid on some of Mr. Clarke's selections. The sale also gave indications of the change of public taste, the bids on some of the numbers going well beyond the prices paid for them by Mr. Clarke, while on articles of a wholly different class they fell so far short as to cause some remark. The classes showing the most noticeable diversities were the Hispano-Mauresque porcelains and the Persian objects. The former presented some remarkable advances on previous prices, and the latter all but went begging. Some commercial houses, however, will reap profits by no means meager on purchases of the Persian goods.
There has been no sale of what is, in common parlance, called bric-à-brac within the last few years with which the best of Mr. Clarke's objects of art, sold at auction, may be compared, except that of the collection made by Charles A. Dana. Although in its entirety that collection stood by itself, there were in it specimens which present a comparative for some of Mr. Clarke's. And Mr. Dana's collection is represented in the Clarke sale by some purchases made when it was out up at auction. At yesterday's sale of No. 51 on the Clarke catalogue, a large Hispano-Mauresque plaque of brilliant copper lustre, which Mr. Clarke bought for little more than $300 at the Dana sale, sold for $650.
Another plaque of this class which is declared to be among the most perfect plaques in this country, although no stress was laid upon its merits or excellence yesterday, No. 55 of the catalogue, sold at $1,200, which figure it reached from the start of $365. It was bought by W. R. Hearst. Another private buyer, who shrank behind a pseudonym, paid $510 for one of these plaques in copper and blue, with brilliant lustre, No. 21 of the catalogue. The exquisite specimens of this particular decoration, which were fairly numerous in the offerings of the afternoon, were very attractive to the buyers and bought from $200 to above $400 each. The names of the dealers were frequent among the buyers, among whom were numbered Henry Sampson, D. G. Kelekran, Stanley and Nardus, and George A. Hearn, "Richman," Greenshields, W. R. Hearst, Mrs. Wood, Mrs. Williams, Cox, Mrs. Sherwood, Mr. Einstein, Benjamin Knower, John Crosby Brown, who purchsased a Shiraz drum, it was understood, for the Metropolitan Museum; Pierre Lorillard and Mrs. Ickelheimer.
Among some of the minor interesting purchases in the Persian and Indian catalogue was a fourteenth century mosaic faience tile, in turquoise, yellow, green, brown and blue, 5 1/2 x 6 1/2 inches, which was picked up by a watchful dealer at $23, and a most attractive little Persian money box, 3 1/2 inches high, of the seventeenth century, with a setting of turquoise and engraved, which George A. Hearn got at what appeared to be the bargain price of $4. A fifteenth century copper plate of mosaic design went at $2, and an Arabian carved rosewood and ivory back-scratcher at the same figure. Mr. Lorillard's purchase of a seventeenth century long dagger with a white jade handle at $20 was said to be made at less than the value of the jade alone. Some old Persian book covers, too, were sold at very low prices.
The paintings selling at $400 and above are as follows, with the purchaser's name where announced:
103. H. Bolton Jones's "Sandy Shore;" W. M. Laffan..... $400
109. J. Francis Murphy's "A Sunny Morning" 450
111. Inness's "Night;" G. W. Curtis..... 710
117. D. W. Tryon's "Starlight;" G. L. Jewett 400
118. A. H. Wyant's "Twilight"..... 425
123. Winslow Homer's "The Bright Side;" S. P. Avery, Jr...... 525
136. Charles Sprague Pearce's "Meditation;" Metropolitan Museum of Art..... 510
138. D. W. Tryon's "November;" A. C. Bedford..... 950
149. Winslow Homer's "Rations;" E. H. Bernheimer..... 500
150. Inness's "Afternoon Glow, Pompton, N. J.;" Robert Blum..... 1,650
154. Charles C. Curran's "Breezy Day;" Pennsylvania Academy of Fine Arts..... 625
155. Inness's "Rocky Dell;" J. S. Bache..... 550
157. William A. Coffin's "Sunrise in January"..... 550
160. Inness's "End of the Rain;" Louis Marshall..... $1,550
165. Inness's "Autumn Silence;" Laflin Kellogg..... 1,325
168. Winslow Homer's "Maine Coast;" F. A. Bell..... 4,400
169. Inness's "Wood Gatherers;" George A. Hearn..... 5,600
172. F. D. Millet's "Lacing Her Sandal;" E. Weston..... 900
179. D. W. Tryon's "A Dewy Night—Moonrise;" James Quinian..... 1,000
180. H. Siddons Mowbray's "Evening Breeze;" W. M. Laffan..... 810
181. Charles H. Davis's "The Evening Shadows;" Corcoran Art Gallery, Washington..... 1,100
182. J. G. Brown's "A Merry Air and a Sad Heart"..... 850
183. Charles Melville Dewey's "Edge of the Forest;"Corcoran Art Gallery..... 1,050
184. Inness's "A Sunny Autumn Day;" C. T. Blair of Chicago..... 4,100
185. A. H. Wyant's "Early Morning;" E. McMillan..... 1,800
186. Winslow Homer's "The Life Line;" George W. Elkins of Philadelphia..... 4,500
THE SUN, FRIDAY, FEBRUARY 17, 1899.
CLARKE PICTURE SALE.
INNESS'S FAMOUS "GRAY LOWERY DAY" GOES FOR $10,150.
Remarkable Price for a Picture That Was Painted in One Day—The "Clouded Sun," Another of Inness's Masterpieces, Brings $6,100—Total for the Night, $61,220.
The weather did not keep away from Chickering Hall last night the people who had evidently already made up their minds to be on hand at the sale of the third section of Mr. Thomas B. Clarke's paintings and to bid freely on them, and in some cases liberally, almost enthusiastically. A price was made for an Inness which will please the lovers of that artist's work, although they may say that there are other examples worth a great deal more than the highest priced picture of last evening and of the Clarke sale so far. This was the "Gray, Lowery Day." It was No. 260 in the catalogue, and it was bid up to $10,150. A number of people had come prepared to buy this painting, and some of them had felt reasonably confident in their guesses of from $1,200 to $1,800 as the price of it. They were badly fooled, as a number of other persons expected them to be. The first bid offered was $2,000 and the price went almost immediately to $4,600. At $6,000 the spectators applauded, and again at $7,000. After the bids had reached $7,600 the first advance at less than $100 was made. The price climbed to $8,000, and on by $50 and $100 advances to $9,000, with applause at each thousand. At $10,000 the hearty applause was irrepressible, and Mr. Kirby gave the people their way for a few moments before attempting to get another bid. The price climbed to $10,150, and everybody in the house was happy. Requests for the purchaser's name were made, but Mr. Kirby was unable to get the bidder's permission to announce it. It was bought by Henry Sampson, who had among his competitors William R. Hearst and some others. Among the admirers of the painting when it was on exhibition in the American Art Galleries was the wife of a well-known broker, who is known as a purchaser of some fine paintings, and it is understood that he was represented among the bidders. This picture has already attained fame, and has been seen by a great many people. It was painted by Inness in 1877 in one day. It is said that Mr. Clarke paid $400 for it. It is a canvas 16 x 24 inches, full of foliage and verdure and water courses, with an atmosphere saturated with moisture from sky to earth.
The Corcoran Art Gallery was again a purchaser last evening, among its purchases being Bolton Jones's "Springtime," at $700, and Picknell's "Road to Concarneau," for $1,100. Winslow Homer's "The Gale," a fisherman looking out above the surf into a windstorm, was bid up rapidly from the start of $1,000 to $1,625. It was bought by J. Harsen Rhoades. Louis Moeller's "Puzzled," the old man of books brought to a standstill by some problem, had evidently been in the minds of several persons who expected to get it at a few hundred dollars, but it was bid up to $1,525.
Of the other Innesses on last night's catalogue the first one put up (No. 196), "Pool in the Woods," a work of 1872, sold at $575. Another early one, "Old Homestead—Medfield" (1866), catalogue number 211, went at $960. A "Moonlight" of 1890 (199) sold for $650, "The Glow," 1886 (221), at $850; "Twilight," 1876 (231), at $1,600, and "September Afternoon," 1887 (240), at $1,500. "Autumn Tints," 1880 (245), went for $635, and "New England Valley," 1878 (250), brought $2,050. The range went on to $2,700 for No. 266, the "Harvest Moon," and $6,100 for "The Clouded Sun" (1891). This price was manifestle, sentimental, as in the case of the "Lowery Day," a bidder raising every offer by $25. He refused to be affected bu offers of another bidder, who raised him by a few hundred dollars at a time.
George Fuller's "Romany Girl" brought out good bids, and was sent up to $4,100.
The total for the evening was $61,220, which, added to that of the two previous evenings, makes $165,815 paid for the paintings so far. Yesterday afternoon's sale of art objects yielded $16,350. With the $12,568.50 of Wednesday afternoon's sale, this brings the total of the Clarke sale, to date, to $194,733.50.
An interesting incident of last evening was the sale of the first painting bought by Mr. Clarke, 190 of the catalogue, Wakeman Holberton's "Brook Trout," a notable contrast to the Innesses with which Clarke filled his home later. It sold for $110.
The afternoon sale of Mr. Clarke's home collection of art objects, at the galleries of the American Art Association, was of a larger interest than the first afternoon sale on Wednesday, and although the attendance, on account partly of the weather, was small, it was made up of people who came prepared to buy. The number of spectators, drawn by curiosity merely, was very small. A spectator overlooking the hall at the stated time for beginning the sale remarked to a skeptical companion: "There are buyers enough here to take twice as many good things as will be offered today."
The result of the sale justified this off-hand remark. The prices of the day were good. It was so acknowledged by diverse interests, although no one set up in argument the palpable fact that a few of the offerings brought a price which represented less the value of the object than the sentimental interest of the buyer. The proceeds of the afternoon were $16,350, as against $12,568.50 on Wednesday afternoon, and 109 articles were sold as against 164 on Wednesday. So the two days' total for bric-à-brac is $28,918.50 The prices of yesterday were higher than some good judges had believed would be paid, in a number of instances materially higher. One hundred dollars was not a rare figure for the opening bid. A curious phase of the sale was the number of catalogue entries for which an unlimited bid had been sent in to the eager purchaser's representatives. On Wednesday this aspect had been remarked only in the buying of the shields—of elephant and rhinoceros hide and so on—for which a dealer evidently had carte blanche, but yesterday a number of the porcelains and potteries had evidently been marked for possession by determined buyers. In other instances the buyers themselves were present to bid up the objects of their desire.
The afternoon began favorably with the sale of a blue and white vase of the Kien-lung era (1736-95), 1 3/4 inches high, for $22.50. An earlier example of the Yung-ching era, a quarter of an inch taller, sold at $35, and a soft paste bottle, four inches tall, of the Kang-he era (1661-1722), went at $100. A Yung-ching blue and white decorated gallipot, with cracked surface (170 of the catalogue), brought $300. A Kien-lung gilt bronze incense burner in relief work (189 of the catalogue) brought $160. A jade vase four inches tall, inlaid with rubies and emeralds, sapphires and gold, brought $335 (194 of the catalogue). A bit of an amethyst bottle of the size of the first vase sold followed this at $17.50 (catalogue number 195). The next two numbers, an amethyst snuff bottle of the Kien-lung era and a Fei-tsui snuff bottle, presenting the colors of "moss and melted snow," of the same era, respectively 1 3/4 and 2 inches in height, were sold respectively at $25 and $105. The first one went to a dealer; the buyer of the second was not announced.
A temple jar, Kang-he (209A of the catalogue), sold at $310. Two hawthorn ginger jars of the same era, the bidding on which was begun at $100, went at $540 each. Of the old Chinese porcelains, single color, a Kang-he gallipot of cream white, soft paste with incised ornamentation (216 of the catalogue), sold at $225; a Wan-li (sixteenth century), ruby-colored vase (219) at $405, and its companion at $350; a Kang-he, apple-green crackled vase (221), at $390; and a 6 1/2-inch bottle with imperial yellow glaze (223), seal of Tao Kwang, 1821, which Mr. Clarke purchased at the sale of the Dana collection, at $400. This little yellow vase, which Mr. Clarke confessed yesterday that he was willing at the time to pay more for, as he had fondled it often when in possession of the former owner, and as he regarded it as one of the most perfect in this country, he secured at the Dana sale for $135.
No. 247 of the catalogue, a Kang-he bottle from the Brayton Ives sale, was bought by Mrs. Wood for $800. A Ming vase in turquoise (268) brought the same amount, and a Yuan vase (271) $700.
The full list of the paintings sold last evening, with the prices and buyers' names, except in a few instances where the buyers' names were withheld, is as follows:
187. George H. Smillie's "Low Tide;" Baron Rosenkranz..... $140
188. Winslow Homer's "The Buccaneers;" E. D. Page..... 140
189. Robert F. Bloodgood's "A Miss is as Good as a Mile;" S. P. Avery, Jr...... 150
190. Wakeman Holberton's "Brook Trout;" Baron Rosenkranz..... 110
191. D. Jerome Elwell's "Breezy Day;" J. S. Bache..... 170
192. Charles X. Harris's "The Scouts;" E. G. Bruns..... 200
193. Worthington Whittridge's "Summer Evening;" Walters.....160
194. Louis Moeller's "News;" M. H. Lehman 375
195. Francis C. Jones's "Won't Play;" T. A. Sindelair..... 660
196. George Inness's "Pool in the Woods;" B. Mansfield..... 575
197. A. H. Wyant's "The Mountain Road;" A. A. Healy..... 430
198. George W. Maynard's "Mermaid;" Louis Erlinger..... 180
199. Inness's "Moonlight;" H. R. Ickelheimer..... 650
200. J. G. Tyler's "First American Shipwreck;" Louis Stern..... 240
201. Homer Martin's "Headwaters of the Hudson;" E. McMillan..... 1,500
202. Bruce Crane's "The Water Gate;" Emory. 200
203. Winslow Homer's "Rise to a Fly;" Daniel Dain..... 175
204. Thomas W. Wood's "His Own Doctor;".....F. Rockefeller, Cleveland, O..... 500
205. R. A. Blakelock's "Entrance of the Forest;" E. McMillan..... 150
206. William T. Smedley's 'Sight Seeing;" W. M. Laffan..... 80
207. William M. Chase's "A Stone Yard;" Walters..... 130
208. George W. Brenneman's "Relics;" J. S. Bache..... 160
209. Samuel Colman's "Valley in Mexico;" E. McMillan..... 175
210. Winslow Homer's "To the Rescue;" T. L. Manson.....650
211. Inness's "Old Homestead—Medfield;" Herman Schaus..... 960
212. Louis Moeller's "Hello;" E. H. Gary..... 160
213. William M. Chase's "Prospect Park;" F. S. Smithers..... 210
214. Charles C. Curran's "Wading in the Lily Pond;" J. S. Bache..... 225
215. William H. Beard's "Eavesdropper;" Peter Doelger..... 155
216. Homer Martin's "Wild Cherry Trees;" H. R. Ickelheimer..... 175
217. Charles C. Curran's "A Happy Family;" W. O. Whitcomb..... 225
218. Charles H. Davis's "Nightfall;" Cottier & Co...... 230
219. Frederick A. Bridgman's "The Cadi's Escort at Rest;" W. D. Lockwood..... 500
220. Winslow Homer's "Rowing Homeward;" Chavler L. Freer..... 185
221. Inness's "The Glow;" S. P. Avery, Jr. ..... 850
222. Edwin H. Blashfield's "Music;" E. Weston..... 875
223. Charles Melville Dewey's "Along the Shore;" C. M. Hyde..... 325
224. Leo Moeller's "A Patriot of Valley Forge;" C. M. Hyde..... 360
225. A. H. Wyant's "Any Man's Land;" W. M. Clausen..... 550
226. William T. Dannat's "A Smuggler;" F. S. Smithers..... 175
227. H. A. Ferguson's "Mount Lafayette and Franconia Valley;" T. J. Brinckerhoff. 225
228. C. D. Gibson's "Men Must Work;" W. M. Laffan..... 115
229. J. Francis Murphy's "Woods in Autumn;" B. Mansfield..... 200
230. Winslow Homer's "Visit to the Mistress;" M. H. Lehman..... 320
231. Inness's "Twilight;" Blank..... 1,600
232. Horace Bonham's "The Issue of the Cockpit;" Corcoran Art Gallery, Washington..... 330
233. Arthur Parton's "Summer Clouds;" A. C. Humphreys...... 200
234. Gilbert Gaul's "Wounded—To the Rear;" M. H. Lehman..... 300
235. Carleton Wiggins's "Harvest Moon;" Scott Foster..... 610
236. H. Siddons Mowbray's "The Last Favorite;" T. A. Lindler..... 400
237. George H. Smillie's "Landscape, Easthampton;" E. G. Burns..... 200
238. L. C. Tiffany's "View on the Hudson;" Baron Rosenkranz..... 125
239. Winslow Homer's "Camp Fire;" A. Harrison..... 700
240. Inness's "September Afternoon;" E. C. Convers..... 1,500
241. Henry R. Poore's "Baying Hounds;" E. Weston..... 280
242. W. L. Sonntag's "A Sunlit Valley;" E. G. Bruns..... 280
243. Francis Miller's "A Local Freight Caboose;" Mrs. H. Schiussel..... 205
244. R. A. Blakelock's "Moonlight;" J. S. Bache..... 110
245. Inness's "Autumn Tints at Tenafly;" Blank..... 635
246. Thomas W. Dewing's "A Garden;" C. L. Freer..... 375
247. Walter Clark's "Sunset;" Robert M. Thompson..... 500
248. William M. Chase's "Girl in Costume;" Charles M. Kurtz..... 165
249. F. F. Church's "In the Tropics;" T. S. Van Volkenberg..... 305
250. Inness's "New England Valley;" Mrs. B. P. Cheney.....2,050
251. Charles F. Ulrich's "The Glassblowers;" M. H. Lehman.....525
252. D. W. Tryon's "Autumn"..... 760
253. E. C. Tarbell's "Amethyst;" E. Weston..... 290
254. William A. Coffin's "Choppy Sea;" Walters..... 100
255. Charles C. Curran's "Corner in a Barnyard;" J. S. Benning..... 200
256. H. W. Ranger's "Forenoon;" M. R. Snyder..... 130
257. Richard Creifeld's "Absorbed;" M. R. Snyder..... 120
258. Elliott Daingerfield's "Moonlight;" H. J. Braker..... 210
259. F. Dielman's "Puritan Wedding;" E. Weston..... 305
260. Inness's "Gray, Lowery Day;" Henry Sampson..... 10,150
261. Thomas Sully's "Portrait of a Man;" E. D. Page..... 110
262. Samuel Waldo's "Portrait of a Lady;" H. J. Brinckerhoff..... 125
263. Henry G Dearth's "Evening;" J. S. Benning..... 275
264. Carlton T. Chapman's "The Lighthouse;" A. C. Humphreys..... 180
265. Eastman Johnson's "The Pension Agent;" F. Rockefeller..... 800
266. Inness's "Harvest Moon;" ..... 2,700
267. Louis Moeller's "Puzzled;" E. Weston..... 1,525
268. Leonard Ochtman's "Moonlight Shadows;" E. McMillan..... 600
269. Winslow Homer's "Perils of the Sea;" A. C. Humphreys..... 210
270. John La Farge's "Autumn;" A. A. Healy. 330
271. Richard Pauli's "Harvesting;" E. McMillan..... 350
272. J. G. Brown's "Watching the Train;" M. H. Lehman..... 560
273. D. W. Tryon's "Winter Evening;" C. L. Freer..... 800
274. George Fuller's "A Romany Girl;" James Ross of Montreal..... 4,100
275. Thomas Allen's "Maplehurst at Noon;" A. C. Humphreys..... 450
276. Inness's "The Clouded Sun;" Knoedler & Co...... 6,100
277. Winslow Homer's "The Gale;" J. Harsen Rhoades..... 1,625
278. H. Bolton Jones's "Springtime;" Corcoran Art Gallery..... 700
279. William L. Picknell's "The Road to Concarneau;" Corcoran Art Gallery..... 1,100
Status
Needs Review