The past winter in New York has scarcely kept pace with its immediate predecessor in the number and merit of the collections of pictures opened to public inspection or disposed of at auction. The unprecedented prices obtained for the really excellent collection of Mr. Wolfe, in Christmas week of 1863, seemed to have inoculated art collectors and dealers with what may be called a cacoethes vendendi, and until far into the succeeding summer the picture auctioneers were called upon to knock down dozens of galleries of "private gentlemen about to leave the country," varying in merit from respectable to positively bad. In these sales the moderns had decidedly the best of it, the few [{137}] "old masters" who ventured to appeal to the sympathies and pockets of our collectors being at last treated with proper contempt. But the prices realized by the Wolfe gallery, even when reduced to a specie basis, were too high to become a recognized standard of value, and gradually the interest in such sales, as well as the bids, declined, until the sellers became aware (the purchasers had become aware some time previous) that the market was overstocked and the demand for pictures had ceased. The contributions of the foreign artists to the New York Sanitary Fair brought probably less than a third of the money that would have been obtained for them had they been sold in January instead of June, and such collections as have been scraped together for sale during the present season have met with but moderate pecuniary success. It is gratifying to know, however, that our resident artists, both native and foreign-born, have for the most part been busily and profitably employed, and that in landscape, and in some departments of genre, their works have not suffered in competition with similar ones by reputable European painters. Without wishing in any respect to recommend or suggest a protective system for fostering native art, we cannot but rejoice that the overthrow of the late exaggerated prices for foreign works will tend to encourage and develop American artists.
The principal art event in anticipation is the opening of next exhibition of the National Academy of Design in the building now hastening to completion at the corner of Fourth avenue and Twenty-third streets. It is to be hoped that the contributions will be worthy of the place and the occasion. Recent exhibitions have not been altogether creditable to the Academy.
Durand, the late president of the Academy, and one of our oldest and most careful landscape painters, has a characteristic work on exhibition at Avery's Art Agency, corner of Fourth street and Broadway. It is called "A Summer Afternoon," and is pervaded by a soft, pensive sentiment of rural repose. In the elaboration of the trees and in the soft, mellow distances the artist shows his early skill, albeit in some of his later pieces the timid handling inseparable from age is discernible.
A collection of several hundred sketches and studies of no special merit, by Hicks, has recently been disposed of at auction. The essays of this gentleman in landscape are not happy, and the specimens in this collection had better, perhaps, have been excluded.
Rossiter's pictures representing Adam and Eve in Paradise, now on exhibition in New York, have excited more remark than commendation. It may be said briefly, that they fail to do justice to the subject.
Curnmings's "Historic Annals of the Academy of Design" have been published, and constitute an interesting addition to the somewhat meagre collection of works illustrating American art history.
Mr. Thomas Ball, the well-known sculptor of Boston, is about to depart for Italy, with the intention of remaining several years in Florence, and executing there in marble a number of plaster models. Among these are a life-size statue of Edwin Forrest in the part of "Coriolanus," and busts of the late Rev. Thomas Starr King and Edward Everett. The latter is said to be an admirable likeness.
M. J. Heade, an American artist, formerly of Boston and Providence, is publishing in London a work upon the humming-birds of Brazil, illustrated from designs by himself.
The United States Senate was recently the scene of a somewhat animated debate on art matters, arising out of a proposition to authorize the artist Powell to "paint a picture for the Capitol at a cost not to exceed $25,000." The scheme was defeated, chiefly through the opposition of Senator Sumner, who thought the present an improper time to devote so large a sum to such a purpose.
A very remarkable picture by Gérôme, the most original, and realistic of living French painters, is now on exhibition at Goupil's, in this city. It is entitled "The Prayer of the Arab in the Desert," and in a small space presents a complete epitome of Oriental life.