FINE ARTS IN 1902. 



had but one exhibit, entitled En Famille, a pic- 

 ture containing 15 or 16 human figures and a 

 hound. The happy father in this At Home stands 

 at the right, smiling and looking toward the 

 mother, a matronly woman seated at the left 

 with her children gathered around her. 



Roll, the V ice-President, exhibited G canvases, 

 of which Vielle au Fagot represents an old 

 woman carrying a large bundle of fagots on her 

 head descending a hill, with a house and trees 

 in the background. 



Jose Frappa contributed 5 portraits, among 

 them a full-length of Cardinal Gibbons, of Balti- 

 more, in his episcopal robes, holding a book in 

 his left hand. 



Jean Veber had a half-dozen exhibits, among 

 them two, entitled respectively La Machine and 

 Le Monstre, which prove him to be the possessor 

 of a very fervid Gallic imagination. The first rep- 

 resents a nude woman seated astride of what may 

 be intended to be the boiler of the machine, from 

 which apparently proceeds the power that turns 

 an immense wheel, whose revolutions grind to 

 death many diminutive human beings. The sec- 

 ond picture, The Monster, represents a nude 

 woman asleep on a bank, with wild men and ani- 

 mals gazing on her from a little distance with 

 gestures indicative of astonishment. 



Auguste Hagborg's Ualecarlienne represents a 

 Swedish lady, seen at three-quarters length, lean- 

 ing on a table, on which are scissors, a work- 

 basket, and sewing materials, and bending for- 

 ward to look out of a small window. 



Alexander Harrison, of Philadelphia, contrib- 

 uted 6 canvases, and J. McNeill Whistler and 

 Julius L. Stewart 5 each. Other American ex- 

 hibitors were: Lucien Abrams, Albert Jean 

 Adolphe, Frederick Baker, J. Hoxie Bartlett, Ce- 

 cilia Beaux, Charles Bittinger, Kate Carl, Mile. 

 L. Crapo-Smith, Herbert W. Faulkner, Frederic 

 Carl Frieseke, Walter Gay, Walter L. Green, 

 Harvey Hall, John McLure Hamilton, Childe 

 Hassam, John Humphreys-Johnston, Bradford 

 Johnson, Rebecca Jones, Mme. Lucy LeerRobbins, 

 Mine. Mary Louise Macmonnies, Gari Melchers, 

 Eleanor Norcross, Elizabeth Nourse, Galen Jo- 

 seph Perrett, John H. Recknagel, Julius Rolsho- 

 ven, William Sartain, William i2mile Schumacher, 

 Winnaretta Singer, Harry Van Der Weyden. 



Paris: Miscellaneous. The Humbert collec- 

 tion, which attracted more attention, perhaps, 

 than was justified by its actual worth on account 

 of the connection of the name with the most 

 gigantic swindle of modern times, was sold in 

 Parts, June 20 and 21, and produced a total of 

 1,187,000 francs. Some of the best prices ob- 

 tained were: Paul Baudry, L' Amour et Psyche, 

 25,000 francs, and La Fortune et L' Amour, 26,000; 

 Boudin, L'Avant-port, 16,200; Jules Breton, Le 

 Retour des Moissonneuses, 25,200; Corot, Le 

 Pecheur, 49,000, and La Ferte-sous-Jouarre, 26,- 

 100; Daubigny, Les Laveuses, 50,500; Eug&ne 

 Fromentin, Le Passage du Gue, 30,000; Isabey, La 

 Benediction, 47,000, and Le Marchand d'Etoffes, 

 23,000 ; Charles Jacque, L'Abreuvoir, 34,000 ; Gus- 

 tave Moreau, Le Roi David, 51,000, and St. Sebas- 

 tien, 39,500; J. F. Millet, La Porte de Barbizon, 

 ^ti.oOO; Roybet, La Main Chaude, 36,100, and Les 

 Comediens au Chateau, 34,500: Van Marcke, Ren- 

 tree a la Ferine, 36,500. Angelo Asti's portrait of 

 Mine. Humbert herself brought only 450 francs, 

 and that of Frederic Humbert by the same artist, 

 only 145 francs. 



A statue of Balzac was unveiled in Paris, Nov. 

 22, in the presence of many persons prominent in 

 the literary world. The statue, at the intersec- 

 tion of Rue de Balzac and the Avenue de Fried- 



249 



land, is of heroic proportions and represents the 

 author seated, in a meditative mood. Bas-reliefs 

 show scenes from the Com6die Humaine. Ad- 

 dresses were made by M. Hermant, president of 

 the Society of Men of Letters, and M. Chaumie, 

 Minister of Instruction, and a poem was read 

 by Albert Lambert. M. Chaumie paid an elo- 

 quent tribute to the memory of Balzac, whose 

 fame, he said, is now fully established, after a 

 hundred years' perspective, as that of one of the 

 foremost figures in literature. 



Benjamin Constant's famous picture La Jus- 

 tice du Ch&rif, exhibited several years ago at the 

 Salon, and which the artist always refused to 

 sell, has been purchased by the state since his 

 decease, and will go to the Luxembourg Museum. 



Rembrandt's Portrait of Admiral van Tromp, 

 lately the property of M. Floriet, Paris, has been 

 purchased for 300,000 francs, it is reported, by 

 Charles Schwab, president of the United States 

 Steel Company. This picture, which is painted 

 on wood and measures about 33 by 27 inches, 

 was sold in the Erard sale in Paris, 1832, for 

 17,100 francs. There are several other Rembrandt 

 portraits of Van Tromp. 



London: Royal Academy. The winter exhi- 

 bition, devoted to the old masters from English 

 private collections, was an amazing revelation of 

 the wealth of art hidden in galleries the owners 

 of which have seldom before permitted the public 

 to view their treasures. Among these were some 

 pictures seen probably for the last time in an 

 English exhibition, lament the English journals, 

 because they have fallen a prey to the inevitable 

 American. " America has become the financial 

 center of the world," says the Athenaeum, and 

 has begun to absorb our priceless heirlooms, and 

 it suggests the formation of a society similar to 

 the Societ6 des Amis du Louvre to raise sub- 

 scriptions to " retain permanently in English gal- 

 leries a few at least of the masterpieces which 

 are so rapidly disappearing." 



The one hundred and thirty-fourth summer ex- 

 hibition was marked by a reduction in the num- 

 ber of works exhibited, only 1,726 pictures and 

 sculptures being given a place as compared with 

 1,823 in 1901. In the 11 galleries devoted to 

 oil-paintings, only 795 examples were hung, as 

 against 923 last year and 1,090 in 1900. 



The place of honor was given to the state por- 

 trait of King Edward VII, by Luke Fildes, which, 

 isolated by cloth-of-gold draperies, was hung^ 

 where last year was exhibited Benjamin Con- 

 stant's portrait of Queen Victoria. The King is 

 represented life-size, standing almost full-face, in 

 field-marshal's uniform, scarlet jacket studded 

 with orders, top boots, and white breeches. From 

 the shoulder depends the deep crimson cloak, 

 lined with ermine, worn at the opening of Parlia- 

 ment. The crown and orb lie on a red cushion 

 on a marble-topped baroque table and the scep- 

 ter, which rests on the table, is grasped in the 

 King's right hand. It is a faithful portrait treat- 

 ed in a kingly way. 



A second picture exhibited " by command .of 

 the King " was Seymour Lucas's Reception by 

 King Edward VII of the Moorish Ambassador, 

 June 10, 1901. His Majesty, with Queen Alex- 

 andra by his side, is seated on a canopied dais 

 at left, in St. James's Palace, receiving the Moor- 

 ish ambassador, Kaid el Mehidi el Mehebbi, and 

 his suite. The ambassador, a white-robed, hooded 

 central figure, stands before the throne reading 

 from a manuscript in his hand greetings from 

 his master to the new sovereigns. The simple 

 grandeur of his robes and of those of his suite 

 standing in the background are in striking con- 



