213“and the Velasquez”: HCF to Fry, July 31, 1911, HCFP, C, TFC/FARL.
213“utterly great”: HD to Altman, June 26, 1912, in Haskell, “Altman,” 197.
214“something exceptional, fine”: RK to CSC, March 28, 1911, Knoedler.
214“large, scientific catalogues”: Wilhelm von Bode, “Die Amerikanische Gefahr im Kunsthandel,” Kunst und Künstler 5 (1906–07), 4, 5. RK to CSC, March 24, 1911, Knoedler.
214“bust up Widener’s collection”: MB to ISG, December 5, 1908, Letters, 427.
214“banish several”: MB to ISG, December 16, 1908, ibid.
215“for one million marks [$250,000]”: Wilhelm von Bode, “Die Berliner Museen und die Amerikanische Konkurrenz,” Der Cicerone 2 (1910), 83.
215Morgan’s collections: W. Loeb to J. C. Curtis, September 19, 1911, in Strouse, Morgan, 609.
215to begin: Ibid., 642.
215“overtaking all of Europe”: Paul M. Kennedy, The Rise and Fall of the Great Powers (New York: Vintage Books, 1989), 243–44.
215Frick, $95 million: Chernow, Morgan, 158; Bailey, Building the Frick, 93.
216 60,000 pounds for the painting: Flaminia Gennari Santori, “Hans Holbein: Christina of Denmark, Duchess of Milan,” Richard Verdi, Saved: 100 Years of the National Art Collections Fund (London: Hayward Gallery, 2003), 92.
216“stripped Italy and Spain”: George Bernard Shaw in Juliet Gardiner, “Rebels and Connoisseurs,” in Verdi, Saved, 21–22.
217 40,000 pounds: Gennari Santori, “Holbein,” 92.
217not to go after the portrait: National Gallery Director’s memoranda, March 1908, ibid., 92.
217“obliged to accept”: Charles Holroyd, February 12, 1908, in Gennari Santori, “Holbein,” 92.
217“doing anything definite”: HD to BB, n.d., in Samuels, Legend, 770.
217“difficult task”: “Holbein’s ‘Duchess of Milan,’ ” Times, May 1, 1909, 12.
217have to match: Gennari Santori, “Holbein,” 92. “This new price meant that the art dealers would profit by £11,000: a public scandal was inevitable.”
217“practically numbered”: Philip Burne-Jones, “Holbein’s Christina,” letter to the editor, Times, May 3, 1909.
218Prince of Wales 125 pounds: “Holbein’s ‘Duchess of Milan,’ ” message from the Prince and Princess of Wales, Times, July 1, 1909, 17.
218“decided in 11 days”: OG to BB, May 20, 1909, Colnaghi.
218“EXPIRED YESTERDAY”: HCF to CSC, June 1, 1909, HCFACF, TFC/FARL.
218to the bank: “nation retain holbein balance money subscribed today regret cant be yours carstairs,” CSC to HCF, June 1, 1909, Knoedler.
218“lift the veil”: James to Edmond Gosse, June 4, 1909, Selected Letters of Henry James and Edmund Gosse, 1882–1915, ed. Rayburn S. Moore (Baton Rouge, LA, and London: Louisiana State University Press, 1988), 240.
218“hung so long”: CSC to HCF, June 1, 1909, HCFPAF, TFC/FARL.
218“HAVE WRITTEN”: HCF to CSC, ca. June 3, 1909, HCFPAF, TFC/FARL.
218half of the canvases go: according to Philip Conisbee, “about half the works on show there had been sold out of the British Isles,” Philip Conisbee, “The Ones That Got Away,” in Verdi, Saved, 26. In 1909 and 1910, Robert C. Witt claimed that the value of works of art exported from Great Britain exceeded 1.1 million pounds. “The Nation and Its Art Treasures,” in Frank Herrmann, The English as Collectors, 375.
219“poverty and squalidness”: Strouse, Morgan, 638.
219“target and victim”: Cannadine, Decline, 48.
219 The Polish Rider : See Colin B. Bailey, “Henry Clay Frick, Roger Eliot Fry, and Rembrandt’s Polish Rider,” Frick Collection Members’ Magazine (Spring/Summer 2002), 10–12.
219Rembrandt’s value: Fry to HCF, April 24, 1910, HCFACF, TFC/FARL.
219“for the museum”: Strouse, Morgan, 570
219“one hundred years”: Abraham Bredius in Scallen, Rembrandt, 130.
220“apotheosis” of the picture: Bredius to Tarnowski, HCFACF, TFC/FARL.
220“REACH ME EIGHTEENTH”: Fry to HCF, April 15, 1910, HCFACF, TFC/FARL.
220“as my Rembrandt”: HCF to Fry, cable, ca. April 16, 1910, HCFACF, TFC/FARL.
220“AMSTERDAM EXHIBITION”: Fry to HCF, cable, April 16, 1910, HCFACF, TFC/FARL.
220“he would sell”: Fry to HCF, April 24, 1910, HCFACF, TFC/FARL.
220painting’s condition: Fry to HCF, cable April 16, 1910, and April 24, 1910, HCFACF, TFC/FARL.
221“all matters”: HCF to Fry, undated cable, HCFACF, TFC/FARL.
221“TO VIENNA”: Fry to HCF, cable, April 19, 1910, HCFACF, TFC/FARL.
221“family may see it”: HCF to Fry, cable, April 20, 1910, HCFACF, TFC/FARL.
221“£80,000 and £100,000”: Fry to HCF, April 24, 1910, HCFACF, TFC/FARL.
221“end of my resources”: Fry to his mother, April 24, 1910, Letters of Roger Fry, ed. Sutton, 330.
221“difficult matter to transact”: Fry to HCF, April 24, 1910, HCFACF, TFC/FARL.
222“important pictures for me”: HCF to Fry, May 12, 1910, HCFP, Art Files, TFC/FARL.
222“this Rembrandt through you”: HCF to RK, May 13, 1910, HCFP, C, TFC/FARL.
222“stands quite alone”: Fry to HCF, June 2, 1910, HCFACF, TFC/FARL.
222“ENCHANTED”: HCF to Fry, July 22, 1910, HCFP, Art Files, TFC/FARL.
222a work by Sutermans: RK to CSC, November 13, 1911, Knoedler.
223“few rich people that exist”: CSC to OG, December 18, Knoedler.
224thirty-four other pictures: OG to Knoedler, November 26, 1910; OG to CSC, November 30, 1910, Colnaghi.
224“Also the Prince of Wales”: OG to CSC, December 7 and 17, 1910, Colnaghi.
224“one of the finest V. painted”: OG to CSC, December 24, 1910, Colnaghi.
224“to have been expected”: CSC to OG, December 6, 1910, Knoedler.
224“in this artist”: Ibid.
224“but humble folks”: CSC to OG, January 10, 1911, Knoedler.
225“spoken to confidentially”: RK to CSC, March 28, 1911, Knoedler.
226“little VERMEER”: CSC to RK, April 11, 1913, Knoedler.
226Amsterdam industrialist: August Janssen, Amsterdam (Washington, D.C.: National Gallery of Art, On-line Collection Catalog).
226“so grand an advertisement”: CSC to RK, March 13, 1911, Knoedler.
227“it is priceless”: CSC to HCF, April 4, 1911, HCFP, C, TFC/FARL.
227“more understandable”: HD to Altman, Haskell, “Altman,” 197.
227“poor Rembrandt himself”: OG to BB, March 18, 1911, Berenson Archives, Villa I Tatti.
228“interested in the Velázquez”: CSC to OG, January 17, 1911, Knoedler.
229“$175,000 for them”: CSC to OG, January 10, 1911, Knoedler.
229“prohibitive in price”: CSC to OG, January 17, 1911, Knoedler.
229“old rose and white”: Tom Robinson to CSC, January 28, 1911, Knoedler.
229“100,000–120,000 [pounds]”: OG to CSC, February 7, 1911, Colnaghi.
229half of his half: CSC to OG, February 7 and 21, 1911, Knoedler.
229“hopes of his buying it”: CSC to OG, February 21, 1911, Knoedler.
229“(say by March fifteenth)”: CSC to HCF, February 21, 1911, Knoedler.
229for The Mill: CSC to Colnaghi, cable, February 23, 1911, Knoedler: “velazquez sold frick.”
229“ever seen”: Fry to HCF, February 14, 1911, HCFACF, TFC/FARL.
230still a record sum: Samuels, Legend, 166.
CHAPTER VIII. “THANKS NOT IN [THE] MARKET AT PRESENT”
231changed his plans: Chernow, Morgan, 146.
231“Island of Sicily”: HCF to Philander Knox, January 2, 1912, HCFP, C, TFC/FARL.
231voyage home: Philander Knox to HCF, May 18, 1912, HCFP, C, TFC/FARL. “I congratulate you upon your safe return and especially upon the lucky circumstances that you gave up your sailing on the Titanic.”
231�
��would eat nothing”: Dan Farr to CSC, April 15, 1912, Knoedler.
231“informed of it on the dock”: A. S. W. Rosenbach to Belle da Costa Greene, in Strouse, Morgan, n644.
232“die of grief”: George Davey to CSC, April 15, 1912, Knoedler.
232“money oligarchy”: Samuel Untermeyer in Strouse, Morgan, 659.
232“dying financier”: Chernow, Morgan, 156.
232“respect and gratitude”: Ibid., 172.
232it might ever be needed: Edward Robinson, November 29, 1912, in Tomkins, Merchants, 178.
233“40,000 pounds by Friday”: CSC to Charles Henschel, June 10, 1913, Knoedler.
233house in Roehampton: CSC to Arthur M. Grenfell, August 15, 1912, Knoedler. He paid 110,000 pounds for Bellini’s St. Francis and Rembrandt’s Dutch Merchant together.
233“and three others”: Grenfell to HCF, September 5, 1913, HCFP, C, TFC/FARL.
233only 30,000 pounds: CSC to Grenfell, June 12, 1913, Knoedler. CSC to Charles Henschel, June 10, 1913, Knoedler.
234“importance of some of the pictures”: R. Langton Douglas to Margaret E. Gilman, November 30, 1943, TFC Curatorial Files, TFC/FARL.
234“creating a sensation”: Tom Robinson to CSC, January 12, 1912, Knoedler.
234“Receiving the Stigmata”: MB to ISG, July 27, 1912, Letters 497.
234“Grenfell’gotten into”: CSC to Henschel, June 12, 1913, Knoedler.
234“suffer severe losses”: CSC to Henschel, July 2, 1913, Knoedler.
235“much time to write”: CSC to RK, August 11, 1913, Knoedler.
235Carstairs had refused it: CSC to Agnew, November 18, 1914, Knoedler.
235Radnor pictures: CSC to RK, October 29, 1912, Knoedler.
235“put in order”: CSC to RK, August 19, 1913, Knoedler.
235“any additional money”: CSC to RK, May 26, 1914, Knoedler.
235“wonderfully brilliant effect”: CSC to HCF, June 16, 1914, HCFP, C. TFC/FARL.
236“as much as they can”: Robert Fleming to HCF, May 21, 1914, HCFP, Art Files, TFC/FARL.
237“masterpieces” in London: Grenfell to HCF, April 21, 1914, HCFP, Art Files, TFC/FARL.
237 Man in a Red Cap: The Titian went for 13,650 pounds. See Christie, Manson & Woods, Important Pictures by Old Masters, London, June 16, 1914.
237“GRENFELL SALE”: CSC to HCF, July 6, 1914, HCFP, C, TFC/FARL.
237“MARKET AT PRESENT”: HCF to CSC, handwritten on telegram, July 6, 1914, HCFACF, TFC/FARL.
237“pictures at cost”: James Dunn to HCF, cable, July 27, 1914, HCFP, C, TFC/FARL.
237“in your library”: CSC to HCF, July 24, 1914, HCFACF, TFC/FARL.
238“playing daily”: HCF to CSC, August 1, 1914, HCFP, Art Files, TFC/FARL.
CHAPTER IX. “IF THIS WAR GOES ON, MANY THINGS WILL BE FOR SALE”
241“If This War Goes On”: MC to LWH, July 5, 1915, MMA Archives.
241“cities of Europe”: MC to LWH, August 13, 1914, MMA Archives.
241“only subject”: MC to LWH, November 8, 1914, MMA Archives.
241“too sickening”: MC to LWH, November 11, [1914], in Mathews, Letters, 317–18.
241“escaped”: MC to LWH, December 3, 1914, MMA Archives.
242“treacherous years”: Henry James, Letters of Henry James, ed. Percy Lubbock, vol. 2, 384.
242“what will be the outcome”: CSC to Knoedler, New York, August 14, 1914, Knoedler.
242send him money: BB to Duveen, September 23 and October 10, 1914, DBR.
242 St. Francis—to New York: CSC to RK, September 24, 1914, Knoedler.
242“for security”: National Gallery, London, board meeting minutes, September 18, 1914, National Gallery Archives.
242“opportunity has come”: Michael Knoedler & Co. to Lewis L. Clarke, Esq., President, American Exchange Bank, New York, February 11, 1915.
243“his triumph and your defeat”: Gimpel, Diary, 41–42.
243“trouble in Europe”: HCF to James Dunn, September 15, 1914, in Warren, Triumphant, 350.
244“proportions immensely”: HCF to RK, June 3, 1914, HCFP, C, TFC/FARL.
244“character of our band”: CSC to OG, December 12, 1914, Knoedler.
244“interested in it”: Fred Menzies to CSC, November 16, 1914, Knoedler.
244“CLAY INTEREST”: CSC to Menzies, November 16, 1914, Knoedler.
245“influence him to close”: Menzies to CSC, November 17, 1914, Knoedler.
245“tie it up”: CSC to Lockett Agnew, November 18, 1914, Knoedler.
245sent to Frick: M. Knoedler & Co. to HCF, December 4, 1914, HCFACF, TFC/FARL.
246“for your pictures”: HCF to CSC, December 4, 1914, HCFP, Art Files, TFC/FARL.
246“Owing to war losses”: A. E. Stanley Clarke to HCF, May 5, 1916, HCFP, C, TFC/FARL.
247“it will be able to acquire”: Knoedler to Lewis L. Clarke, February 11, 1915, Knoedler.
247“heard from you”: Menzies to CSC, April 1, 1915, Knoedler.
247“or go bankrupt”: Alice Creelman to HCF, April 2, 1915, HCFP, Art Files, TFC/FARL.
247together for $365,000: Creelman to HCF, April 10, 1915, HCFP, Art Files, TFC/FARL.
247“her & friend”: Ibid.
248“of Knoedler & Company”: HCF to Creelman, April 13, 1915, HCFP, Art Files, TFC/FARL. He instructed Bankers Trust to pay Hugh Lane and Creelman for the portrait.
248“deal direct”: Hugh Lane to HCF, April 21, 1913, HCFP, C, TFC/FARL.
248“Red Cap Titian”: Creelman to HCF, May 11, 1915, HCFP, Art Files, TFC/FARL.
248“under £10,000 [$50,000]?”: BB to Duveen, May 18, 1915, Box 390A, Folder 3, DBR.
248“the war is over”: CSC to HCF, July 23, 1915, HCFP, C, TFC/FARL.
248 50 Old Master pictures: Chernow, Morgan, 172.
249“capable of making”: Edward Robinson, February 15, 1914. MMA Bulletin, 9, 2 (February 1914), 36.
249“around to Morgan’s ”: Gimpel, Diary, 43.
249around $1 million: Strouse, Morgan, 687.
249in the new house: “Cost of Fragonard Room,” Ledger, September 23, 1915, HCFP, Art Files, TFC/FARL.
249“for my dining room”: HCF to Jack Morgan, April 20, 1915, in Strouse, Morgan, 688.
250“in the history of the firm”: JD to BB, July 14, 1915, in Samuels, Legend, 194.
250and eighteenth-century furniture: Bailey, Building the Frick, 76.
250“advertisement for them”: Menzies to CSC, March 11, 1915, Knoedler.
250“please him”: JD to BB, May 14, 1915, Box 24, Reel 79, Folder 26, DBR.
250$460 a share: Knoedler & Co. to Agnew’s, August 11, 1915, Knoedler.
250“ALL ITALIAN ART”: BB to Duveen, May 16, 1915, HCFACF, TFC/FARL.
251“nerves & endurance”: Grenfell to HCF, November 1, 1915, HCFP, C, TFC/FARL.
251“before many months”: HCF to Grenfell, November 29, 1915, HCFP, C, TFC/FARL.
251five from Duveen: “List of 59 Paintings Acquired by H.C. Frick 1898–1914,” HCFACF, TFC/FARL.
252$843,316 on paintings: “Statement of Purchases from M. Knoedler & Co. July 1, 1914–August 1, 1915,” HCFACF, TFC/FARL.
252$190 million in 2006 dollars: “List of Paintings Acquired December 29, 1910 to August 23, 1919,” HCFACF, TFC/FARL.
CHAPTER X. THE FEAST OF THE GODS
253“secret from”: BB to Duveen, June 24, 1916, Box 535, Reels 390 A–C, Folder 4, DBR.
253“other hands”: BB to Duveen, telegram copies, September 30, 1913, Box 535, Reels 390 A–C, Folder 4, DBR.
254“don’t dare”: BB to JD, October 4, 1916, Box 535, Reels 390 A–C, Folder 4, DBR.
255bought the painting together: The Feast of the Gods (Washington, D.C.: National Gallery of Art, On-line Collection Catalog, 12.07); Agnews 1817–1967 (London: B. Agnew Press, 1967), 47.
255“million dollars”: BB to ISG, November 26, 1916, Letters, 591.
255“its present ownership”: BB to ISG, January 7, 1917, ibid., 593.
255“great mind”: MB to ISG, January 7, 1917, ibid., 595.
255“mysterious and beautiful!”: MB to ISG, January 15, 1917, ibid., 596.
256“behind me!”: ISG to BB, May 18, 1917, ibid., 602.
257“fascinates you”: Arthur J. Sulley to Joseph E. Widener, April 23, 1917, National Gallery of Art, Washington, D.C., Curatorial Records.
257“subterranean fortress”: Charles J. Holmes, Self & Partners (London: Constable, 1936), 327.
257“to accept”: Ibid., 333–34.
258“place it”: Sulley to Widener, September 26, 1921, National Gallery of Art, Washington, D.C., Curatorial Records.
258“own national gallery”: David Cannadine, Mellon, 376.
259 125 Old Master paintings: Ibid., 566.
EPILOGUE
263 The Blue Boy : Shelley M. Bennett, “The Formation of Henry E. Huntington’s Collection of British Paintings,” in Asleson and Bennett, British Paintings, 8.
263Vermeer (A Lady Writing): It was a gift of Harry Waldron Havemeyer and Horace Havemeyer Jr. in memory of their father, Horace Havemeyer.
263“Musée d’Orsay in Paris”: Gary Tinterow, “The Havemeyer Pictures,” Frelinghuysen et al., Splendid, 3.
264“genuine regret”: Burlington Magazine, 53, no. 305 (August 1928), 95.
264“in London”: OG to BB, May 5, 1943, Berenson Archive, Villa I Tatti.
264“Worldwide adulation”: Samuels, Legend, xiii.
264“Culture as a commodity”: Schapiro, “Mr. Berenson’s Values,” 224.
265“collectors to acquire”: Bernard Berenson, Sunset and Twilight, 264.
Bibliography
BOOKS
Adler, Kathleen, et al. Americans in Paris. London: National Gallery, 2006.
Agnew’s1817–1967. London: B. Agnew Press, 1967.
Ainsworth, Maryan W., and Keith Christiansen, eds. From Van Eyck to Bruegel: Early Netherlandish Paintings in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1998.
Alpers, Svetlana. The Art of Describing: Dutch Art in the Seventeenth Century. Chicago: University of Chicago Press, 1983.
———. Rembrandt’s Enterprise: The Studio and the Market. Chicago: University of Chicago Press, 1988.
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