GAINSBOROUGH 1 PART 23* —-—VOLUME 2 Iu3 work F*erugino^ thejr sovils to tHe" cbt beaut3^ Gio1 v/orks truly reflect re to the student of ai satiristv wiil stand as the iglish schcoL Pa^vil Pottei inore v/idel}' known, will re] rr\er, to prove whom the^ RuBkin wrote Modern Painf e. In this Volume a number wl awings, and the exquii been chosen foi Its to be treated pinions of the^bestjc^ as befoi masl eved xcellei MASTERS I N ART A SERIES OF ILLUSTRATED MONOGRAPHS: ISSUED MONTHLY PART 23 NOVEMBER, 1901 VOLUME 2 CONTENTS Plate I. Mrs. Robinson ('Perdita') Plate II. Orpin, the Parish Clerk Plate III. Mrs. Siddons Plate IV. The Morning Walk Plate V. Jonathan Buttall (*The Blue Boy Plate VI. Mrs. Jordan Plate VII. The Watering-place Plate VIII. The Honorable Mrs. Graham Plate IX. Queen Charlotte Plate X. Eliza Linley and her Brother Wallace Collection: London National Gallery: London National Gallery: London Lord Rothschild's Collection: Tring Park ) Duke of Westminster'sCollection:London Earl of Northbrook's Collection: London National Gallery: London National Gallery of Scotland: Edinburgh South Kensington Museum: London Lord Sackville's Collection :Knole Portrait of Gainsborough by Himself Royal Academy: London The Life of Gainsborough London Society, Volume 47 (1885) The Art of Gainsborough Criticisms by Armstrong, Wedmore, J. E. Hodgson and F. A. Eaton, Van Dyke The Works of Gainsborough: Descriptions of Plates and List of Paintings Gainsborough Bibliography Page 20 Page 21 Page 25 Page 34 Page 40 Photo- Engravings by Folsom and Sunergren: Boston. Press-work by the Everett Pr PUBLISHERS' ANNOUNCEMENTS SUBSCRIPTIONS: Subscription price, $1.50 a year, in advance, postpaid to any address in the United States or Canada: to foreign countries in the Postal Union, ^2.00. 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KOBIJSrSON (• PEKDITaO "WAIiLACE COLLECTION, LONDON MASTERS IN ABT PliATE II PHOTOGRAPH BY BRAUN, CLEMENT & CIE GAINSBOHOUGH ORPIN, THE PARISH CliERK NATIONAIi GAIiliERT, liONDON MASTEHS IN AHT PLATE III PHOTOGRAPH BV BRAUN, CLEMENT & CIE GAINSBOBOUGH MHS. SIDDONS NATIONAL GALLERY. LONDON MASTERS IN ART PLATE IV FROM ARMSTRONG'S " GAINSBOROUGH " GAINSBOROUGH THE MORNING WALK LORD ROTHSCHILD'S COLLECTION, THING PARK MASTERS IN AKT PLATE V PHOTOGRAVURE BY THE BERLIN PHOTOGRAPHIC CO. GAINSBOHOUGH THE BliUE BOY DDKE OF WESTMINSTEB'S GOIiLECTION, liONDON MASTEKS IN ART PLATE VI PHOTOGRAPH BY BRAUN CLEMENT A CIE GAIJVSBOEOUGH MES. JOEDAIsT EARIi OF NORTHBEOOK'S COLLECTIOIf, liOKDON" 'A O ? ^ S 2 ^ ^ Z «ij ^ ^ ^ ^ g s ft S; MASTERS JN ART PLATE VHI PHOTOGRAPH BY HANFSTAEN6L GAIJVSBOROUGH THE HOIfORABLE MRS. GRAHAM IfATIONAIi GAIiliERY OF SGOTLAJSTD, EDIIfBITRGH GAIXSBOKOUGH QUEEJf CHARLOTTE MASTERS IN AKT PLATE IX ^^^^^^ KEXSIXGTON MUSEUM, LONDON PHOTOGRAPH 8Y WOODBURY GAIN^SBOEOUGH .r^r. ^ ELIZA lilKTLEX AN^D HEH BROTHEK MASTERS IN AKT PLATE X LOKD SACKVILLE'S COLLECTION, KNOLE FROM ARMSTRONG'S GAINSBOROUGH " POKTHAIT OF GAINSBOHOUGH BT HIMSRIiF EOTAIi ACADEMY, LONDON The portrait here reproduced was in Gainsborough's studio at the time of his death, and was presented by his daughter to the Royal Academy. "In person," writes Fulcher, who drew his description from those who had known the painter person- ally, "he was handsome, fair, tall, and well proportioned. His forehead, though not high, was broad and strongly marked; his mouth and eye denoted humor and refinement. The general expression of his face was thoughtful, yet not altogether pleasant. The most casual observer would have seen that much lay there; one gifted with greater insight would also have said that something was wanting there; few could have affirmed what." MASTERS IN ART BORN 1 72 7: DIED 1788 ENGLISH SCHOOL LONDON SOCIETY VOLUME 47 [1885] THOMAS, third son of John Gainsborough, a respectable trader, was born, some time in 17 27, in the town of Sudbury, in Suffolk, amidst some of the loveliest rural scenery of England. The exact date of his birth is not known, but he was baptized in the Independent Meeting-house early in May. The father, a shroud-maker, seems to have been fairly prosperous, for though he had a large family, nine in all, he was able to give them good educations. He appears to have been a fine, generous-hearted, clear-headed man. Respected by his fellow townsmen, his good repute does not seem to have suffered in those days by the fact that he was wont to carry on a con- traband trade with Holland, and the circumstance would scarcely be worth naming but for the conjecture that through the father's visits to the Nether- lands the son may have learned something of the principles of Dutch art. Certainly his earlier work betrays evidences of some acquaintance with the Dutch masters. . . . The artist's mother, like the mother of so many great men, was evidently a woman of altogether superior qualities. She was, among other things, an accomplished painter of flowers, and from the first encouraged her little boy in his attempts at drawing. Thomas, like many another great painter, early showed signs of his special gift. At ten years old, we are told, he had made progress in sketching, and at twelve was a confirmed painter. He himself tells us that there was not a picturesque clump of trees, nor even a single tree of any beauty, nor hedgerow, stem or post for miles around, that he had not noted as a lad. At ten years of age Thomas was sent to the grammar school, of which his uncle was head master. Tom seems to have struck a sort of bargain with his school-fellows by which they undertook to do his lessons while he amused them with his sketches. But the boy's chief delight was to get a holiday and ramble about with his sketch-book. It is recorded that having applied to his father for such a holiday, and having been refused. Master Tom, nothing daunted, wrote on a slip of paper the usual formula, "Give Tom a hoKiay," so cleverly imitating his father's handwriting that the much- 22 0ia$^ttt^ in art desired holiday was granted. He set out, and returned with a book full of sketches. Meantime, however, the fraud had been discovered, and his father, on seeing the clever forgery, exclaimed, "Tom will be hung!" But when the boy showed his book and told how he had spent his day, the old man said, "Tom will be a genius!" At the back of the house in which the artist was born there was a spacious orchard. It was separated only by a fence from the road, and the ripe fruit had for some time been mysteriously disappearing. One morning Gains- borough, having risen early to sketch in the inclosure, noted a man's face peeping over the fence and gazing wistfully at the ripe pears. Immediately the young portrait-painter made a sketch of these features. Then, before the marauder could gather his prey, the boy revealed himself and put him to flight. At breakfast Tom told the story and showed his sketch, from which the man was immediately recognized. He was sent for and taxed with felonious in- tent, which he stoutly denied, till the boy confronted him with the portrait. This juvenile effort was preserved in the family, and Gainsborough ulti- mately made a finished painting of the scene under the title of "Tom Pear- tree's Portrait." No wonder his friends thought that something might be made of a lad possessing so true an eye and ready a hand. A family con- sultation was held, at which it was decided to send Tom to London to study painting; and thus he went thither at the early age of fifteen. In London Gainsborough lived first with a silversmith who gave him great assistance and introduced him to the engraver Gravelot, one of the best of his time, with whom he learned the art which he occasionally practised in after-life. Gravelot also got the boy admission to the old academy in St. Mar- tin's Lane. This academy Gainsborough left for the studio of Hayman, who, if he enjoyed some reputation as an historical painter, was far more notorious for his convivial habits. Whether his master's paintings or his convivial habits proved too much for the young student we know not, but certain it is that the latter soon set up a studio for himself at Hatton Garden. This was a period in English art which one critic calls "disgraceful," another "con- temp'-ible," and a third "degraded." Small wonder that Gainsborough pre- ferrea working alone to working with any of the masters of the time ! But ere long he returned to the old Suffolk lanes and woods. The legend has it that while engaged on one of his first landscapes a young woman entered unexpectedly on the scene, and that Gainsborough not only transferred her to his canvas, but enshrined her in his heart. The young woman, whose remarkable beauty has been acknowledged by all who knew her, was Margaret Burr, whose brother was a commercial traveler for old John Gainsborough. The painting of her picture seems to have taken some time; long enough, at all events, for the young couple to fall in love. A few months later they were married — he aged nineteen, she a year younger. About six months after their union the boy-husband and girl-wife went to live at Ipswich, renting a cottage for the modest sum of six pounds a year. In those days the Ipswichians were an essentially practical people who 23 knew nothing and cared less for art, and from them Gainsborough received no patronage; but probably this want of success was in fact an advantage to the artist, for the young man could give his whole time to that minute and loving study of nature that was to stand him in such good stead. The fact that two of the water-color sketches of this period are merely studies of sunbeams piercing through clouds shows how patient and earnest was his work. In 17 54 Gainsborough met Philip Thicknesse, a rich, pompous, tedious, conceited fellow of the Dogberry type, who at once took Gainsborough in hand and proved a useful patron, though he must ever have been an intoler- able bore. He was really useful in getting the young painter commissions, and it was at his suggestion that, after fifteen years of pure happiness and quiet content at Ipswich, Gainsborough moved to the then fashionable city of Bath. Here he had to take a more expensive house, much to the alarm of his prudent wife, who asked him if he were going to throw himself into jail. She need not have been alarmed. From the first orders came in so fast that Gainsborough was obliged to raise his charges from five to eight guineas a head in order to keep his patrons within manageable numbers; and finally he raised them to forty pounds for a "kit-cat," and one hundred pounds for a full-length. Indeed, he so prospered that, punning upon his name, his house was called "Gain's Borough." At Bath Gainsborough of course became acquainted with all the brightest spirits of the time, the bucks and fashionable beauties of the period, and their lineaments gaze down upon us from his canvases. . . . While he was prospering at Bath, public interest in matters artistic showed signs of awakening in London. The Royal Academy of Arts had been founded, and Gainsborough had at once been elected an original member; but he was never active as an associate, often quarreled with that body, and finally withdrew from exhibitions because his celebrated picture of 'The Princesses' was not hung on the line. A quarrel with Thicknesse led Gainsborough to leave Bath for London in 1774, where he set up for a second time — now no longer as a young fellow waiting in vain for work, but as one of the most successful painters of his day. On hearing of his advent, George III. summoned him to the palace, and gave him orders. As soon as this became known all the court and all the fashionable world rushed to follow the royal example. Commis- sions for portraits flowed in so fast that, with all his rapidity of execution and industry, Gainsborough was unable to satisfy the impatience of his sitters. He was now at the zenith of his fame. Yet, while Gainsborough continued to be known solely as a portrait- painter, he did not neglect his paintings of nature, though not a dozen of his landscapes were exhibited at the Academy, and we learn from a contem- porary that these pictures stood ranged in long lines from his hall to his painting-room. Yet those who came to Schomberg House to sit for their portraits rarely deigned even to honor them with a look as they passed by. It was impossible for the artist not to feel a little aggrieved on the subject — especially as he was convinced that his strength and power lay in his landscapes. 24 lEa^fter^f in art Next to his love of nature, Gainsborough's greatest passion was for music, a devotion concerning which many quaint stories are extant, for he was beset by the childish illusion that if he could only possess himself of the actual instru- ment on which a certain performer played he would be able to execute in the same manner. It is remarkable in his pictures that, while as a rule not addicted to microscopic fidelity, he painted musical instruments with special care, so that of his portrait of the musician Fischer a critic remarked, "The violin is so well painted that a connoisseur in the instrument could at once name the builder." Early in the year 1787 Gainsborough began to show signs of failing health. One day when dining with Sir George Beaumont and Sheridan his friends noticed that he who was generally so merry sat silent, and before din- ner was half over he left the table, beckoning Sheridan to follow him. "I shall die soon," he said to the dramatist when they were outside the room; "I know it, I feel it. I have less time to live than my looks infer, but for this I care not. What oppresses my mind is this, — I have many acquaintances, but few friends, and as I wish to have one worthy man accompany me to the grave, I am desirous of bespeaking you. Will you come? Yes, or no?" Sheridan gave him the desired promise, and they both returned to the dinner-table, Gainsborough apparently in his usual spirits. His gloomy presentiment proved, however, not ill-founded. The following year, like all the world, he joined the huge crowd that flocked to the trial of Warren Hastings. There, sitting with his back to an open window, he suddenly felt an icy-cold touch on the back of his neck. On his return he complained of the pain, and his wife looked at the place and saw a small white mark. This soon grew worse, and was declared to be a cancer. "If this be a cancer I am a dead man," said Gainsborough calmly, and set about arranging his affairs. He rapidly grew worse. Shortly before the end he remembered Sir Joshua Reynolds, his rival painter, to whom his feelings had not always been of the friendliest. He therefore wrote to Sir Joshua, desiring to see him once more before he died. " If any little jealousies had subsisted between us," writes Reynolds, "they were forgotten in those moments of sincerity." Very solemn was the death-bed scene, in which the two great painters buried their petty, worldly rivalries. Gains- borough could speak but little, and what he said was understood with diffi- culty by Reynolds, the deaf. The dying man said that he feared not death, but his regret at losing life was principally his regret at leaving his art, more especially as he now began to see where his deficiencies lay. Delirium set in and clouded his understanding. His last coherent words are memorably pathetic, as well as especially characteristic, for they point to the ideal the English painter had set for himself: "We are all going to Heaven, and Van Dyck is of the party." .Two days after the interview with Reynolds he was dead. By his own wish he was privately buried in the Kew churchyard, and Sir Joshua was among the pall-bearers. 25 C|)e ^rt of (Jlamsiiorousl) WALTER ARMSTRONG 'GAINSBOROUGH AND HIS PLACE IN ENGLISH ART'l GAINSBOROUGH was the artistic temperament made visible and stripped of irrelevance. It would not be rash to call him the first and the best of the impressionists. In every task he set himself, or at least in every task he carried through, his aim was entirely pictorial. He felt no temptation to be literary, to be anecdotic, to be didactic, to be anything but artistic within the limits of his own emotions and the materials he was using. His pictures are examples of pure reaction between subject and object. He was the first of the impressionists; but between his impressionism and that of the last forty years there is one remarkable difference. The modern im- pressionist professes to be true to his impressions; his declared idea is to reproduce the broad effect of any scene upon his senses; but, nevertheless, his observation is supplemented by analysis, and his pictures are the result of a long process of justification, as it were, applied to the image first re- ceived. Such a proceeding was quite foreign to the genius of Gainsborough. With him the impression was everything. Once received, it had to be justi- fied, not by the truth which underlay it, but by the splendor to which it led. Gainsborough's finest things are all impromptus. We might almost say that when he deliberated he was lost. A sympathetic personality had the power to set his brain burning with creation at a touch. In the 'Mrs. Sid- dons,' the 'Mrs. Graham,' 'The Morning Walk,' we cannot discover the faintest sign of that mental preparation which is so evident in Sir Joshua. The pictures, as we see them, record the images which sprang into the painter's brain as his sitters approached. Beauty and aesthetic unity grew under his hand with an unequalled rapidity. The idea of conscious and deliberate control never obtrudes itself. His art is to that of other painters what conversation is to literature. It is vital, spontaneous, and, within the pattern, unexpected. He paints as a first-rate talker talks. His head is full of his conception, and his fingers do the rest. His brush-strokes are scarcely due to separate acts of volition. The happy color, never muddy or fatigued, trips from his brush; one felicitous line succeeds another; delicious textures weave themselves into the inevitable pattern, and the picture emerges with delight from the matrix of his exulting brain. All this, however, is true only when the problem to be solved is simple. In such complex matter as groups of many figures Gainsborough was never successful in hitting upon a quite satisfactory conception. The 'Baillie Family' in the National Gallery is a collection of beautiful passages; it is not a picture. In a less degree we may say the same of such a comparatively simple thing as the 'Eliza and Tom Linley.' In these separate ideas were suggested by the different figures, and the painter was deficient in the faculty 1 In the following criticism a few paragraphs have been interpolated from the same author's article on Gainsborough in t mt WINSOR. «. 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Hew VorK ARTISTS' MATERIALS of every description DRAUGHTSMEN'S SUPPLIES PYROORAPHY OUTFITS and Materials ARTISTIC PLASTER STATUARY THE LUXURY ^JVD ATTENDANCE of the most palatial home cannot surpass the service furnished the traveler who takes advantage of the THROUGH TRAINS AND PULLMAN CARS FROM BOSTON, VIA THE BOSTON & ALBANY SiL {New Tork Central Lines), to NEW YORK, ALBANY, ANDTHEWEST NEW YORK, 4 TRAINS DAILY BUFFALO, 8 CLEVELAND, 6 TOLEDO, 4 " " DETROIT, 4 " COLUMBUS, 3 TRAINS DAILY CHICAGO, 5 CINCINNATI, 3 ST. LOUIS, 3 The only DIRECT DOUBLE-TRACK SERVICE FROM NEW ENGLAND TO ALBANY, BUFFALO, AND THE WEST A. S. HANSON, General Passenger Agent MASTERS IN ART BINDINGS and BOUND VOLUMES MASTERS IN ART Voltime One of **Mcij^terj^ tn^rt** Comprising the issues from January, igoo, to December, igoo, inclusive (Parts I to 12), contains monographs devoted to Van Dyck, Titian, Velas- quez, Holbein the Younger, Botticelli, Rembrandt, Reynolds, Giovanni Bellini, Millet, Murillo, Hals, and Raphael. Volume One 'Bound in Cloth, $3.00 Volume One, bound in brown art-buckram, with gold cover-design and gilt top, $3.00, post-paid. \/'olume One Bound in Half-Morocco, $3.50 Volume One, bound in green half-morocco, with gold cover-design and gilt top, $3.50, post-paid. Stibscribers* Comes of Volxime One Subscribers' Copies of Volume One will be bound to order in either of the above styles. Price for binding Subscribers' Copies in brown buckram, gold cover-design and gilt top, $1.50, post-paid. In green half-morocco, gold cover-design and gilt top, $2.00, post-paid. Send unbound copies carefully wrapped, by mail, and mark the package outside with the full name and address of the sender. BATES ^SL GUILD COMPANY, PUBLISHERS 42 CHAUNCY STREET BOSTON. MASS. M ASTE RS IN ART i Fine Gold Jewelry f Diamonds Precious Stones t I FOSTER & COMPANY f ^ 32 West Street, cor. Mason, Boston ^ 5 BRAUN'S CARBON PRINTS Jmpotrteb TJOotfia of <^xt 100,000 DIRECT REPRODUCTIONS FROM THE ORIGI- NAL PAINTINGS AND DRAWINGS BY OLD AND MODERN MASTERS. <- Our WORLD-RENOWNED PUBLICATIONS OF THE MOST CELEBRATED MASTERPIECES BY TITIAN NUMBER 300 ; BY HOLBEIN, 400 ; BY VELAS- QUEZ, 150; BY REMBRANDT, 400; etc., ETC. Illustrated extract from our Gen- eral Catalogue sent on application ; price, 50 CENTS (free to EDUCATIONAL INSTITUTIONS). Special terms to schools. (^raun^ Cttmtnt & Co. Cor. 28th St. 249 ^iff^ (gl?e,, (Uei» ^Otft CW^ NO OTHER BRANCH HOUSE IN AMERICA !L )] COLOURS Most Permanent}. IN THE MARKET. ARE THE ■ M^T tJniJiIrd^'j. FOR SALE BY ALL HIGH CLASS ART DEALERS. Rowney's Jlrtlsts' Colours (ENGLISH MANUFACTURE) FOR OIL OR WATER-COLOUR PAINTING ROWNEY'S COLOURS ARE MADE OF THE FINEST SELECTED MATERIALS OBTAIN- ABLE, AND SHOULD ALWAYS BE USED FOR GOOD WORK ESTABLISHED 1789 ROWNEY'S COLOURS HAVE BEEN USED BY THE PRINCIPAL ARTISTS IN ENG. LAND AND FRANCE FOR OVER ONE HUNDRED YEARS ESTABLISHED 1789 FAVOR, RUHL & CO. TttipOftCrS M Park Place, New York MASTERS IN ART GRUEBY POTTERY for the Holidays at the following places Bigfelow, Kcnnard & Co., Boston Theodore B. Starr New York J. EL Caldwell & Co. Philadelphia V. G. Fischer "Washingfton Hardy & Hayes Pittsburgfh C. A. SeUer Cleveland Loringf Andrews & Co. Cincinnati Marshall Field Chicago H. Klingfenfeld Milwaukee BuIIard Brothers St. Paul J. S. Bradstreet & Co. Minneapolis Shrcvc & Co. San Francisco AND WITH DEALERS IN MANY OTHER QTIES OF AMERICA AND EUROPE Gold medal PARIS EXPOSITION 1900 DOMINION LINE. BRITISH MEDITERRANEAN SERVICE BOSTON to Gibraltar, Naples, Genoa, and Alexandria, Egypt S.S. Commonwealth, new twin-screw, 13,000 tons S.S. Cambroman, 5,000 tons Sailings Nov. 27, 1901, Jan. 15 (Gibraltar, Genoa, Naples), Jan. 4, Feb. 12, 1902 (Alexandria) The steamers of the Dominion Line service are splendid ships of the finest construction, and offer the choicest accommodations. Serviceand cuisine perfect. Larg-e staterooms, fine promenade decks. The Com- monwealth is Twin Screw, 600 feet long, and the largest steamship which has ever entered the Mediter- ranean. Send for '■'■The Mediterranean Illustrated,''' an exquisite booklet. For sailings, rates, etc., apply to RICHARDS, MILLS & CO. BOSTON, 77-81 State St. CHICAGO, 69 Dearborn St. E. H. LOW . . 1123 Broadway, N. Y. D. Torrance & Co. . . Montreal, Canada T. H. Larke . . . Minneapolis, Minn. A. F. Webster .... Toronto, Ont. or any agency of Thos. Cook & Son, and Henry Gaze & Sons MASTERS IN ART BOOKS ON Colonial Furniture The Furniture of Our Forefathers Price, ^16.00 English Household Furniture Price, ^10.00 Illustrated Circular s on request Bates &f Guild Company BOSTON, M J s s . pyrography OR burnt wood etching The art of decorating wood, leather, or cardboard by burning the design into the article to be decorated flsa j4 descriptive booklet, giving directions, description, and price-list of tools and materials, designs, etc., will be sent free upon request THAYER & CHANDLER IMPORTERS AND DEALERS IN ART GOODS OF EVERY DESCRIPTION 144-146 Wabash Ave., Chicago, 111. TWO NOTABLE WORKS By REM BRANDT JUST PUBLISHED JJortratt of Ecmfarantif s ^rotl^er in |)elmet A recent acquisition of the Berlin Gallery. A fine photogravure, 1 2x1 6 inches, on hand- made Van Gelder paper, ^5.00. ^aijiH piaping: X^t J)arp to ^aul From the collection of Professor Bredius in The Hague. A fine photogravure, i4^x 1^% inches, as above, ^5.00. S^|)e ^urerfii anU {)oIbemfif Twelve large photo- Price, ^45.00, In the Berlin Gallery, gravures in portfolio. A copy of our Catalogue Masterpieces of Art with Illustrations will be mailed upon receipt of loc in stamps. BERLIN PHOTOGRAPHIC CO. FINE ART PUBLISHERS 14 East 230 Street, New York The Great Picture Light. Nos. 7034, 7035. Pat. Dec. 14, '97. FRINK'S PORTABLE PICTURE REFLECTORS For electric light, meet all requirements for lighting pictures. Every owner of fine paintings could use one or more of these portable reflectors to advantage. The fact that so many have ordered these outfits for their friends is proof that their merits are appreciated. Height, closed, 51 inches ; ex- tended, 81 inches. The light from the re- flector can be directed at any picture in the room and at any angle. Frink's Portable Picture Reflector with Telescope Standard. No. 7034, brass, polished or antique, with plug and socket for electric lamp, $27.50. No. 7035, black iron, with plug and socket for electric lamp $16.50 These special Reflectors are used by all the picture-dealers in New York, and by pri- vate collectors not only in this country, but in Paris, London, Berlin, and other cities. When ordering, kindly mention the system of electricity used. Satisfaction guaranteed. Parties ordering these Reflectors need not hesitate to return them at our expense if not found satisfactory. P. FRINK. 551 Pearl Street, New York City. GEO. FRINK SPENCER, Manager. Telephone, 860 Franklin. MASTERS IN ART Fine Gold and Diamond Jewelry and Sterling Silver Direct from Workshop." Modern methods of nu rcliandisiiig eliminate all middlemen and their profits and bring tlie producer and consumer tugether. Send postal for our new catalogue, containing photographic illustrations of over - " tur thousand articles in gold and silver. Trices are one-third less than elsewhere. Cold and Silver Smiths, DEPT. 18, SALEM, MASS. BAIRD-NORTH CO. We illustrate a few Solid Gold Articles from catalogue. Stones are genuine and of finest quality. -King, Diamonds, Turquoise •2lL — Itnig, iSolitaire Diamond - - •22l— Knig, Solitaire Diamond - - '2 )1, — King, Diamond - - - - - '2lL—Knig, Turquoise - - - - - ^^L— King, Turquoise - - - - - 2(iL—Uing, Opals - ------ 27l— King, Diamonds, Opals - - il2A— Scarf Tin, Diamond, Pearls 8i:U— Scarf Pin, Pearls - - - L— Scarf Pin, Diamond, Pearls If not satisfactory, $32.00 110.00 80.00 8.00 9.00 9.00 5.00 13.50 8.50 5.00 11.00 a32A— Scarf Pin, Diamond, Pearls - 835a— Scarf Pin, Pearls - - - - 854a— Scarf Pin, Pearls - - - - 873a— Brooch - -- -- -- - 967a— Brooch, Diamond, Pearls 96.SA — Brooch, Diamond, Pearls 9(i9A — Brooch, Diamond, Pearls 970 \— Brooch, Diamond, Pearls 971a— Brooch or Chatelaine, Pearl 97-2A— Brooch, Diamond, Pearls 973a— Brooch or Chatelaine, Pearl return and money will be refunded. Our Kef erences.— The proprietors of the Baird-North Co. are p( known to tlie undersigned, and are thorouglily reliable, straightii business men. Any one is safe in sending them money in advaii Hknky M. Batchkldkr, Cashier Merchants NatM Bank, /T^ Salem; Lkland H. Colic, Cashier Mercantile Nat l ^'T!. Bank, Salem ; Hknuy C. Millett, Cashier Vv~^-- Salem Nat'l Bank, Salem. GET THE BEST. Brown's Famous Pictures One Cent Each, 120 for $1.00. size, S/i X 8, 2,cxx) Subjects. PHOTOGRAPHIC reproductions of famous paint- ings, comprising all the world's masterpieces, by old and modern masters. Portraits of famous men, women, authors, composers, and their homes. Histor- ical paintings, scenery, and architecture. Stveral Hundred New Subjects Just Added. BROWN'S MINIATURE PICTURES, 2 for ic. Five hundred subjects. Large Size Pictures, 9x12 3c each Platino-prints, 7x9 3c " Carbon-prints, 7x9 3c " Beautiful Wall Pictures, 19 X 25 . . . 25c ** Send 4c in stamps for four sample pictures and our new thirty-two page Catalogue illustrated with twenty beautiful pictures. G. P. BROWN 5 CO., Beverly, Mass. Cafedes Invalides antidoteCoffee S. S. PIERCE CO. BOSTON -BROOKLINE MASTERS IN ART ALL ARTISTS AGREE IN PRONOUNCING THE Mmon%:^ma^m PIANOFORTES TO BE OF THE Vgrjr Ftr^t 'RanK. Morttx Moss^Kptif^Kj Arthur ^ikj'Sch Harold *Bauer and Kmtl T^aur at.re of that opinion, and Ka.ve cordiaclly testified to that effect BOSTON NEW YORK CHICAGO O teeners of Hxxitdings A^oid Ltcibititjr from damages caused by ice or snow falling from roofs by applying T!l£ Folsom New Model Snow Guard :paoe mark .c ^ This is the simplest and only perfect device which holds snowwhere it falls, prevents slides, or the gathering of snow and ice at the eaves, which so frequently causes water to back up under the shingles or slates and damage walls and ceilings. Folsom Snow Guards are made for shingle, slate, tile, or metal roofs, both old and new, and are applied at trifling expense. Specified as the standard snow guard by architects everywhere. Write for information, FOLSOM SNOW GUARD CO. 105 Beach Street, Boston, Mass. Visitors to New York Are cordially invited to the €xMbitlonofPaiiitiii9$ By Bouguereau, Rosa Bonheur, Cazin, Corot^ Daubigny, Dupre, Diaz, Fromentin, Henner, Jacque, Meissonier, Roy bet, Rousseau, Thaulow, Troyon, Ziem, and a COLLECTION of Portraits by the Old Masters of the Early French, English, and Dutch Schools m 6allerie$ of EDWARD BRANDUS 391 Fifth Avenue Between j6th and 37th Streets New York Rue de la Paix 16 Paris M I lIRR O y B E L L I N < ^^pM U R I L L O li A L S ^^Br a p h a e l SIGN AND GlI^^^^^HK. P08TPA1D._^U^^H IN CLOT}{ WlfifOniD^aTAMP GILT TOP, ^^^^^^H 7) \ 0 LV M I J ^^^^^nALK-MQMayM|^LD STAr/.!' FOLLOWING AR^^^^^^^^^^^^^H ^^^^^^^BpART 19 IPI^^^H E.JO N^^H • pcrfccl these