Once when I was a preceptor at Princeton University, Richard Randall was the name in my class book. Now he might say everybody wants to get in on the act but I am very proud that that he was at that time a student of mine. The nice thing about being a teacher is that poor students never come back to haunt you and the good ones do. There was no such thing as indispensable teacher in many event and any teachers who thinks as indispensable should click his finger in a bucket of water and see the hole at least when he takes it up. The bottom line, educated at Princeton and Harvard. Richard Randall was associated as I think you all know with the Cloisters in New York Museum of Fine Arts in Boston and other places before he came to Walters in 1964. He is more than familiar with 19th century artist who works make up the Lucas Collection opening today. And under his direction at the Walters as a system director there, there is a prime collection of late 19th century paintings and sculpture acquired largely by Mr. Walters himself that the advice of George Lucas and the Lucas notebooks on which Mr. Randall has spoken before are actually in the Walters collection. I could tell you a great deal more about the speaker both personal and out of the type of listing that you get in whose, whose about his war service with an armor division about his training at Princeton and Harvard and the Baptist worked at the Cloisters which was certainly noteworthy where he was associate curator of Medieval Art and later his work as the system curator of decorative arts at Boston. Many of us know him also as an author, he has written a great deal about arms and armor and Mrs. Reed told me tonight that one of her early recollections of him as a collector of Walther pistols at the right age of six or eight something like that but you see these things do hang on, what I think of him as author of the distinguished article in the journal and a catalogue of armor collection and the great deal about furniture a book on the American Furniture at the Museum of Fine Arts in Boston. All books with any one would be proud to have written himself. It is a great pleasure for me particularly to introduce to you that Richard Randall taking on the Lucas collection Mr. Lucas and his collection. (Applause) Thank you Mr. Parkers. This is the only Museum I have had the pleasure of appealing in the long time where they chain the speaker in before the lecture just to make sure that he doesn't go away having had a free dinner. I like the introduction because it pointed out my youth Mr. Parker was my professor at Princeton and I am getting old enough now so that I like references to my youth. Tonight I would like to look with you at George Lucas, a famous Baltimorean who was no Baltimorean as a collector. Lucas really was a Parisian from our point of view and it's only from this point of view that we really are going to look at him tonight. He was a Parisian for a very simple reason, he couldn't stand to BCC and he went to Europe for the first time in 1857 knowing a great many people who went to Europe every year where this was nothing unconventional at all and he not only got ill but apparently he got desperately ill and it took him six months to recover. And he swore that he would never come back to this country on a boat and as the Wright Brothers were little late in his life he never got a chance to come back in the other way. Now this is the story but let's all suspect that Paris in 1858 and succeeding 50 years was a very pleasant place for George Lucas to be. And we will see that his interest were such that there was no place else in the world that George Lucas could have done what he did or where he would have been happier. We will start off with him and his first year in 1858 and he started in that year to keep his series of diaries as I will point out later that wasn't the only kind of book he kept but he always had a small pocket diary and he noted down everything he did and one notices from the very first day that the only thing he ever did had to do with art that from the very first day when he was furnishing his house or rather his apartment and so forth the major entries always have to do with buying works of art. At first they are nameless and very carefully listed but they are nameless. He was buying a brand eagle, hare, and oil painting of a boy singing for 29 francs on engraving of four bishops. This kind of thing goes on for about a year and he obviously had furnished the apartment but he had also decided that he didn't like some of these things or that he bought him right and he do better and so he held a little auction and I think this maybe the clue to what set Lucas on his track because in effect he was buying and selling works of art for the ensuing 50 years. He started off in that first year 1858 to do a few commissions for some of his friends. They included people like Frank Frick. He bought a few pictures for Frick and he bought a lot of pictures for Baltimorean's. In the first year we find him going to one important sale that of Diaz pictures at the Hotel du Louvre where he notes that he met Whistler and the way that he puts it in his diary we can only presume that Whistler was a old friend by this time, though Whistler was quite a few years younger than Lucas. They both went to West Point and I don't know whether that have anything to do with it but they both ended up in Europe for the rest of their lives which may have something to do with West Point. In 1859 we find that he began assiduously to search out artist. This was a serious research project he undertook it in a very direct way. This was extensively for other people you find notes like this in the diary, received a letter from William with the request for information about Marsdenia pictures. The very next day in the diary we note that he went to the dealer Martin to ask about my Marsdenia pictures. The following day he went to the dealer Tedesco with the same questions. A week later he goes to Prosey to Marsdenia home and finds him away but he gets from madam who is at home the prices for Marsdenia pictures which ranged at that time in 1858 from $10,000 to $80,000 francs per canvas depending to the number of figures and the size of the picture. Now the Franc was then worth about 5 to the gold dollar, so this means Reuben Kramer and other artist in the audience information that Marsdenia my son here was getting $2,000 to $18,000 a canvas in 1858. He got considerably more popular than that and by the middle years of Lucas' life in Paris Marsdenia could no longer be booked for $2000. On this visit, he viewed the plea a picture that had just been finished for the Queen of England. Now he followed this method of research on every painter he was ever asked to investigate and those that he was interested in himself. So that within two years time he knew not only every painter in Paris and had met them but he know exactly how much they would charge for a picture and how big it could be and how many figures it could have in it and what the man had shown in this and so forth. We find him going to dozens of that seeing all the painters and viewing their work. Now their early commissions as one might expect were mostly for Baltimorean's. He bought a bouguereau for instance called art and literature for the Jenkins Family, a miracle for Charles Stuart the Johnston's were in Paris and he arranged to have their portraits etched. One of the fascinating references is 14 Stations of the Cross which he commissioned from Senlac for Bishop Carroll who he finally refers to as Uncle George. There were other commissions for H. Warfield and from the new comer family and these were all to be expected. The only thing is that they begin to die out after the first five or 10 years and only George Jenkins and a few other Baltimorean's seem to continue the habit of having Lucas buy pictures for them. Now his notes say little enough, it's very hard to understand the man from his diaries because he is always talking about other things and not about George Lucas. But we can glean a lot by putting together the facts that are before us for instance by 1859 two years after he arrived he was buying for Tyson in Philadelphia for Huntington for Frick for W.H. Graham and for G.B. Cole and for William Walters. And William Walters was his closest friend and greatest buyer and this relationship went on until 1894 and as we will see as we come to references he was continually buying very important works for Walters and accompanying Walters everywhere and leading him by the nose more or less to an art alia and saying look there William and William brought the pictures which Lucas himself could not afford as we will see. So that within two years he is conversant with the entire range of Paris but also with people that most of us have never heard off with painters like Merrell and Duveltje, Puetoria, Lemon, Senlac, Theodore, Marsdenia, Dora, Domiae people we do know but with dozens of little people like Lemons some of whom is you will see upstairs are not insignificant painters. But who are mostly forgotten today. Now what Lucas gives us in his diaries and through his collections is an intimate view of these painters and there are art alias in this 50 year period. Can we have the lights in the first slide please? We are plunged into the midst of their minds and of their dealings and of their success or their lack of it. Absolutely none of this is recorded directly and one has the first impression in reading Lucas's diaries that the man had no personality at all. No feelings and no interest and the books read as you go through them they read exactly like a series of telegram. You see him before you in a portrait painted by Boonah in 1885 and then Boonah is a man that painted the William Walters and Harrington at front entrance the Walters Art Gallery and in this format painted under Lucas' director Apostemas portrait and we will see was the third member of a trilogy. Really these three portraits are in a way very apt and very fitting to be at the same scale and of these three men. I like to read you a few entries from the diary to show you what I mean about the telegraphic communication that he had. There is a little reference in the mid 1860s that says news of Lee's surrender. Another one letter from Kate reciting mother's last moment. Then the next day, now a series of typical entries I will read you six days in a row start off in March 1867 at the Grand Hotel to meet Avery and with him Beckwith and Nurdler to the exhibition of the Shaun de Moraes. Next day took Duveltje Frank Frick's picture of prayer and paid 600 francs for the same. And the next in the morning the Zimmerman accepted the Louis XVI galleries. This must have been carved wood work of some kind. There is a long lawsuit that involves out of that. Gotten paid for both that drawing bought by Kayer at HD which is the short hand for Hotel Drouot or the great auction house in Paris. The next day bought two Lemons at Pica and a lot of aquarelles and another bought Marine of Buda 75 francs, $15. When a picture is mentioned in the diary you have to figure out by process or elimination that if he does not call it an aquarelle its an oil. So this means when he says something like bought Marine of Buda and that's an oil painting by Buda because otherwise he would specify. Now there are hints all the way through this if one looks carefully behind these cryptic notes about what is really going on and a great deal about Lucas himself. There is a hint in the prices of an artist success. In the gifts of an artist feelings for Lucas in the instructions to the painters and the orders for changes in pictures and the selection of subjects into their working methods of the art alia. There are few revealing entries that show us things which we might never dream off as occurring either then or now. Davy delivered two aquarelles a 100 francs loaned him to Marsdenia and gave him his father's aquarelles to retouch and this is the son of the famous painter Davy at Coroz 8 a.m. to see picture. He is to put in a flock of sheep and notify two days in advance. Lucas telling Koro how to paint his pictures at Boniaz and gave him a lithograph of Gavarni to get him to make a drawing of sand. The Walters Art Gallery has a large collection of fake Gavarni and I think we now begin to understand where they came from. Madrazo who is to leave for Spain tomorrow from a month or six weeks and said he would paint there. Asked him to make a head of Spanish woman this was how one commissioned to work of art. Carry the gemma to lemons to put in chickens. Now, there is at least one member of the audience who is a great admirer of gemma and I think that the least he can do is to find that picture and attribute the chickens to lemons it was painted on the third of December 1864 in case you are looking for the date. And then one which really throws me a visit from Thom who offered me to a range and sign or phrase copy of his picture for 50 francs. In other words someone else had made a copy and he would sign it and make it genuine for 50 francs. Now Lucas was a very precise man, he not only kept these diaries he kept three sets of books. He kept the diaries in his pocket. He kept a ledger that was the accounts of all the pictures he bought for other people and he kept an agenda which was all the incidental expenses for being shaved riding on the bus, etc. And these books in order to study the works of art fully you must always triple check a day because sometimes he puts in the agenda or the ledger a note which does not appear on the diary. It all being very cryptic indeed. His daily work though what he said himself to do five days a week was buying pictures for other people. We would all think of this as fun that a lot of it was frightfully boring and it was full of routine of getting basis for Walters Barry sculpture of getting pictures varnished of carrying them to the framer of having them re-stretched of seeing if they were properly packed and shipped to Frick or Huntington or Tyson or Walters. For Walters alone we know that he bought at least 400 pieces of sculpture and about 800 pictures in a period of 25 year and this is just one customer so that you can see that he was a busy man for Henry Walter after 1894 he continued to buy at this prodigious rate but there were many other thing added like books, bindings in particular from gruel and metals and all sorts of other things in addition to contemporary art. Now this man's character seemed to please everybody and he never says a word that hints of what he was like and we can only get but the artist obviously liked him, the collectors liked him, and the dealers liked him. He must have been some kind of a strange angel because I don't think there is anybody in Continental limits the United States today who can make that statement these are liked by all three classes of people that I have just mentioned. Lucas was showered with gifts from all directions particularly by painters that he was quite familiar with went out to dinner often people like Feola almost every picture upstairs I think they are 10 in the exhibition can be documented as being gifts. Ziem gave him quantities of picture all of which are not here. Lemons gave him numbers of pictures. He was continually going to their homes, dinning with them discussing their work and introducing him to other people, a typical entry 1862 dined at Du Velje, so (inaudible 20:36) this goes on continually. He never says anything about what they said or what they talked about but merely this little telegraphic communication which you know that these six painters had dinner with Lucas. We find artist bringing their works to him for appraisal of their merits not of their values and Whistler writing in for advice. Many of the pictures upstairs you will note are inscribed to him. Very few unfortunately on the face where you can see this. So you have to trust the catalogue when they are inscribed on the back. But for instance those by Obeyer, Bona, Bugaro, Kalo, Como, and Trela are all inscribed doing and dozens of others too. His American collector friends who are his benefactors and ultimately supported his careers also lavish small gifts on him. One entry is Thom Buckler bought me a present from his wife of one of Barry's small elephants and there he stands in front of you a very elegant small elephant indeed. It's slightly out of focus I guess, Barry didn't see that elephant very closely. Alright, and slightly out of focus, I guess Barry didn't see that elephant very closely and the outline was little fuzzy. It's interesting that this statue turns up again about a year later and he takes it back to Barry to have the tail changed. It's got a very nice curl at the tail now. And I guess, you didn't like it, in spite of the fact that Mrs. Butler had given it to him. Some of the gifts that he got were inconsiderable at all, the head, my Bugaro that you will see in the exhibition is one of the most beautiful pictures and it's very nicely documented. Bugaro gave me the head of an Italian woman who studied for his picture lays alone. From these many notes then we can put together something on this crazy quilt of Parisian artist and what they were doing in these 50 years. They are doing all sorts of fascinating things like selling each other's work, exchanging pictures and criticizing each other violently. Lucas for instance bought Gavarni from Daumier and undoubtedly in the case of the Gavarni, these were exchanges very often two artist who admired each other tremendously, exchange their works of art. Can't that be focused at all? It's a Baltimore Museum slide. We can only guess that there were exchanges, but in any case that gentleman who was dancing on the screen is titled Honi soit qui malypense, today it's necessary to amuse yourself. Here he comes, he is now on brown paper you will notice. He will be back on white paper in a minute. It's a very wonderful drawing as you can see by it's enlargement on the screen that it has great quality of line from Bonwa for instance a painter. He bought this Barry Lion, a famous lion and the snake one in several versions of this that Barry did. It was in very nice note about Merrill and his relationship with him which says he suggest to Merrill that he read Romeo and Juliet or Byron to find a subject of a picture for two figures. I can see somebody going to Robert Motherwell and suggesting that he read Romeo and Juliet. Now these strikes us in 1965 is little bit strange but we have to remember that a non-literary artist like Whistlers even based some of his pictures on lines from Scott, for instance the famous arrangement in yellow and grey, a portrait of Effie Deans, which is the Rex Museum is based on a line from Midlothian and Whistlers admits there is one of his letters. So that isn't an unusual thing at all but it is sort of nice to know that Lucas was suggesting such good sources for two figure pictures. Now beneath this come and go in everyday life, one that takes closer associations. The answers in the letter for Whistlers in particular are revealing. And there are number of letters that belong to the Merrill Institute which I think really ought to be published as a group which shared a great deal of light on Whistlers that was previously unknown, also great deal of light on Lucas. For instance that Lucas built a studio in his house for visiting painters. I would like you to read you only one of these letters, written in 1873 from London, Dear, Lucas, I have heard of you from time to time through Avery and listen with great pleasure to his description of your new house you have lately built. This was the country house that we will refer to it later. The studio in it capitalized naturally, interested immensely. He tells me that you invite me to come and paint in it. This is a princely offer which I hope to remind you often, thank you for one of these days, when I also intend to accept it. Meanwhile, I like to tell you of an exhibition of several works of mine, now to be opened. Go and see them and do like a good fellow. Write me a letter and tell me how you like them. They are not merely canvases having interest in themselves alone, but are intended to indicate slightly to those who may concern. Something of my theory in art, the science of color and picture pattern, both underlined. As I have worked it out for myself during these years. There I will not bore you with an article. Go and see and also fight any battles for me about them, with the painter fellows, you may find opposed to them. Of whom by the way that will doubt this be many. Write me what you may hear and in short as I am not there to see, tell me what affect my work producing, if any. You will notice and perhaps meet with opposition that my frames I have designed as carefully as my pictures. And thus they form as important apart as any of the rest of the work. Carrying on the particular harmony throughout, this is a Whistler in 1873. This is of course entirely original with me, and has never been done. Though many have painted on their frames but never with real purpose or knowledge, in short never in this way or anything at all like it. This I have so thoroughly established here and that is in London that no one would have to put any color whatever except in the old black and white and quite out of place probably on their frames without failing that they would at once be pointed out as forgers or imitators. And I wish this to be also clearly stated in Paris that I am the inventor of all this kind of decoration and color on the frames. But I may not have a lot of clever little Frenchman, trespassing on my ground. By the names of the pictures also, I point out something of what I mean in my theory of painting. I hope my dear Lucus, you are quite well and you may perhaps run over this some and give me a lookup. With best wishes from the New Year, believe me ever. Your affectionately. James McNeill Whistler. Then he goes on PS to say that is just developed and mark for his pictures, it is a butterfly and does as a monogram for JW fact that you will know very well. I think this shows a great deal about Whistler's feeling for Lucas, you don't write to people to go and fight your battles for you. If you don't feel that you are rather close to them and know something about them. Here is Whistler himself at about this period as he saw himself the great theorist, the great painter whose ground was not to be walked on by anyone else. And indeed he was right about his painting, a little crazy about some of his ideas. We learned further in the diaries about this relationship, the Lucas was present in 1862 and Whistler packed his famous white girl and shipped it off. They corresponded about the white girl again in 1863. We lost the white girl. She will be back. We learned more interesting relationships about Whistler and Fantin-Latour. It's a very famous relationship as you know. The picture that really dumbfounded everybody was shown in 1863 and a number of other or other rather startling pictures and to all the Frenchmen's great surprise it was Whistlers picture which came off with the most comment. We know a great deal about Whistler and Fantin-Latour for their long correspondence, but their notes in Lucas' diaries which shed even more light. In the evening, it was 1862, in the evening to see Whistler and received from him natural more by Fantin, to pay all of this debt. This picture a very beautiful by Fantin which is upstairs, then came to him to pay debt and was delivered by Whistler who was Fantin's closest friend at that time. In 1872, which is 10 years later, we find that Lucas is buying his Whistler prints from Fantin Studio. Now this sketch was done of Lucas by Whistler, when he was, he had taken up that invitation that you had in the letter and it was many years later in August of 1886 and I just went over the references this afternoon because I found a couple of more interesting Whistler things. And so I will read you the whole sequence. On the 3rd of August, he received a letter from Mordan who was Whistler's model and mistress. And on the 21st Whistler's mode arrived. On the 22nd giving Jimmy sitting for small portrait, 23rd, second sitting to Jimmy for portrait, while Mordan friends went to visit a chateaux. On the same day, the 23rd, Jimmy left after second breakfast for Paris and London. Now on the back of this picture, now to show that Lucas was never satisfied with one entry on anything. He has written, my portrait painted in two sittings by Whistler in France, 22nd, 23rd August 1886 GI Lucas. Here is Mordan reclining in bed in a very handsome water color which is not in the exhibition but it's interesting that the little sketch portrait and this water color was given by Lucas and I didn't note the year but about 1907 or 1908 were given to Henry Walter. And I am sure they were given to him for the specific reason that they had known this man all their lives and none of them ever bought a picture from him. I don't think Lucas ever bought a picture, the portrait was probably given to him and left behind possibly and this picture of Mordan was probably given to him also, but it's interesting that having known Whistler for 30 years that neither William Walters nor Henry Walters nor Lucas ever bought a picture from him. It shows a great deal about their taste, we will come back to this later. In spite of their accumulation of works of art and Lucas' personal collection, there are certain odd traits which appear in the way that he formed his own collection. After nine years of knowing Whistler for instance, he notes some in diary that he went to see and to get his autograph. He had dozens of letter by this name but he went to see to get his autograph. In the similar way having known Daumier for years who you see that it is wonderful look I would call it beatific, I am not sure what it is. Anyhow, there is Daumier, before you he goes to see, he says at Daumier and got autograph. Now this is coupled with the fact that Lucas collected palettes of all the artists he knew and had most of them inscribed. There are several in the exhibition upstairs, I believe, here is the one of Boonah on which Boonah has made a sketch of Barry's hand. Incidentally, I understand that the technicians and people who are interested in the colors of the 19th century and how artist use them are suddenly become interesting in Merrill Institute of Pallets. It is perhaps a good source of finding out how some of this people thought. Now if you add this all up, it seems that this man wasn't a collector at all, he was a magpie. He had a series of small pictures by his comrades among the painters, he had their autographs, he had their pallets and their prints, and suddenly when you say the last line, you get at the real heart of the matter. What Lucas himself was collecting through all those years was the prints of this man. The pictures came to him in a much more incidental way, but the print he went and saw and bought year after year after years from everybody that he considered worthwhile. And I think this year numbers alone are not to impress anymore that there are 15,000 prints, but there are 296 paintings. We find that he went to visit Milay all the time and every time he goes, he notes that he bought 04 or some wood cuts or something else. Here is a typical Milay of that period and there are millions of references throughout the diaries and very often when you goes to a painter on another commission, you will find that he is buying the prints for himself from this side. In 1869, he is at Theo Van Gose and asked him for 20 etchings and single sheets and catalogs for 42 francs. Again at Michelle and bought etchings at Valentine and paid a thousand francs for Whistler etchings, 73 again and took and paid for two sets of etchings, 1864 and 65, 60 francs. Two years worth and very often he notes that he bought complete Arve which met up to that date presumably. He is always buying complete Arves of Milay and giving them to people or supplying Avery or Walter or to somebody else. Now does this mean that the paintings that Lucas aren't of any insignificant, it doesn't at all. Of the 296 pictures some 60 of them are of considerable importance, and many others are charming and interesting pictures. And in some instances we know a great deal about their acquisition, which makes them even more interesting from our point of view tonight. We have already seen that the Fantin-Latour, he got as payment from debt and the Bugaro was given to him as a gift. The Koros are probably the pieces which have been most published in their documentation is best known. In February 1864, excuse me, I have a few more print that I forgot about, here is the Daumier and other Milay one that influenced Van Gogh and of course Whistler here in a nocturne, a printed nocturne I should add as he painted them too. February 1864, at Koros and ordered a repetition of the Evening Star for Walters for thousand francs. And a small landscape near Amea for 300 francs for myself. He collects it on the 5th of March and it was month later and notes that Koro was to write in three days ahead on the completion of the Evening Star, in other words Koro had finished Lucas's picture but had not finished the commission for Walters at that time. On April 10th of the same year, he is back at Koros and bought for 400 francs a picture landscape road at Ville d'Avray with Paris in distance. The entry in the day, he went to pick it up is rather nice. This is the second instance when he appears at Koros at 8:00 a.m. in the morning, Koro had already left for the country, here you see him, photograph undoubtedly taken that day leaving a note in my picture of Ville d'Avray and Koro apparently always left at 8:00 a.m. or earlier to go out and paint in the nature because we find continually that Lucas is arriving there at this rather untoward hour. Here is the picture and question that Koro left behind which many of you know well as it is usually here at the museum. I just found today and thought that some of you would be amused that the remarks on Koro forgeries. In 1893 there are two instances of this, one of them is a rather nice instance of Lucas walking in the Rubona Park where he purchases a landscape attributed to Koro. Three days later, he goes to see Koro, who says it's not by him at all, but perhaps it's by Melia. In 1895, we find this entry and showed him a large picture, signed Koro which he said was by him. Now this is interesting because he was sued few years later for forgery because of a Koro that he had bought. But Lucas has an entirely different reaction. On the 24th of May, some 11 days later, he takes the picture back to him and makes him sign it. So at least we know two of the forgeries of Koro's because I think the saying is he painted 2500 pictures and 10,000 of those are in America. It's very beautiful, snow scene by Pizarro is also interesting in its acquisition at Martens and brought picture of snow, giving him 20 francs and my apples, apples by Bulla had cost virtually nothing and he bought them a couple of weeks before in 20 francs or $4. So the man not only had a sharp eye but he was very good bargainer. Now certain of the pictures cannot be identified among the references for which I am sure you will be glad because you probably heard enough of them. For instance things like Gavarni's which he was buying all the time, one can't identify his seldom says what the subject is. It is a very wonderful one titled take your places for the contradict. And here again, he bought dozens of still life pictures from Jack and this is a very beautiful one, I think of flowers which can't be identified but it was one of those many listed in the diaries and one of the handsome pictures you will see upstairs. All these pictures are the same thing, they are all called allegories and I think they are nine of them, so it's little difficult to know which allegory at which, but these are really very cleverly and interesting pictures as you will see quite unusual in their brush work at the time and pictures was really quite sensitive and sometime that only a man who understood what he was looking at would have acquired. Now the Daumier is interestingly enough, in the Lucas collection are not documented, but he has the greatest source of documentation on Daumier that exists but only those that he bought for other people. Daumier is one of those obscured man who is known usually a lithographer to most people and was known this way to the French and very few people considered him as being a serious painter. Consequently, very little note was taken into his life and what was going on and one finds very little information about him, but Lucas visited in continually and he commissioned pictures for Walters and other people but very carelessly as not say when he got his own pictures. This is called Friends, a wonderful wash drawing and here a very famous picture, which you know has been reproduced in Daumier lithograph, one of the boys down at City Hall. The series of pictures that he commissioned for William Walters began with the picture called omnibus, which shows a very large man sitting down between two people who look very uncomfortable on a bus in Paris and it's interesting in this case to see Lucas mind at work he commissions his picture and Daumier says it will be finished in a week. So exactly a week later, Lucas goes back to see Daumier and remarks in the diary picture not finished, but another week later Daumier drops him a note says it's finished and goes to get it and after that commissions three more for the first class carriage the second carriage and the third class carriage of what you see the third class carriage before you. These are the most documented Daumier because of this and very famous and also very appropriate to Mr. Walters who was in the railroad business. Here is the Daumier sculpture which I think is also very fine where lot of all which is usually at the Walters Art Gallery and is here in the exhibition today, is one of the three works that we snuck away from the Lucas collection, many long years ago. But then there is some extraordinary pictures about which we know very little from the diaries is Thomas Cocher woman in profile, I think it's very beautiful study of a model and we know that Lucas knew Cocher fairly well because he refers to him continually by his initials TC, throughout the diaries but I have been unable to locate the reference to this picture. The Carolus-Duran is something that they come as a surprise to some of you to see how good a painter this man was. He studied Velasquez was very much influenced by Velasquez and for this reason Whistler like Carolus Duran very much and admired his works and this may be the connection I don't know he was a Spanish painter, working I mean he was studying Spanish painting but working in Paris and Lucas may have known him through the usual channel. Here is a picture by his cast on the Seine at Bougival and one almost might think if I were giving a lecture on American Art that we just happened to cross in early Winslow Homer. I think it has a great deal of similar feeling about it, then there were painters about whom I knew nothing and I suspect that some of you knew nothing and a men like Yvonette who painted this wonderful picture of Salazar. At the same time Milay was painting pictures of Salazar and quite different it is and quite satisfactory, we noticed that in 1895, Paul Prutte the print dealer who still exists in Paris and is the great dealer for Daumier was arranging a Ginette exhibition and he came to Lucas to look at his pictures to see if they should be borrowed. Six days later, Duran drew out himself carried off the pictures the exhibition of Ginette. In other words already during the artist life time, people knew of the Lucas collection and came to Lucas to borrow these pictures, the exhibition and you can see why. Here is the second one of ---. Here is an Italian artist De Nittis in a very modern looking portrait of the young girl in Padstow. Now where there is no information in the diaries at all we have to admire George Lucas' taste, for instance look at the abstract background of this picture which is really extremely handsome indeed. It's a beautiful picture by Jerome called the Dandy. I think it is fine as Jerome is one can find anywhere in the world, a very elegant little picture, and here by Kosto which is of course in the romantic mood of Delakow and other things but this far removed from Delakow as it is from Matisse that it leads into. But it has its own wonderful play of pattern and textures and it's related to both these people in different ways. And here is the only Buda which is in the collection now called outside the bar and one wonders if this is the Bud Marine bought for $15. The second one which is not as romantic as the one that was gotten for 20 francs in the bulla apples but it is an equally fine picture called Path By the River. Now apparently Nouvelle Vague at the time Impressionism did not interest Lucas very much, nor did he buy the impressionists for the other people he advised. He did buy one Monez or at least William Walters bought one Monez presumably on Lucas's advice but it's the pictorial wind mills in the Walters Art Gallery which is a typical Barbizon picture and very early and it has nothing to do with Impressionism at all, but we see that he was not adversed to it because he went to all the exhibitions he knew Durand-Ruel very well, he is continually going to his gallery and mentions exhibitions of Monez. He knew Theo Van Gogh and went there continually but never seems to have seen a picture by his brother. He was as I said at the salon des refuses in 1863 already looking at the people who would grow into the impressionist at later times. And he mentions many exhibitions and notes to Madame Monet and other people. Now 1903 he did buy one Monet, and he bought it under very interesting circumstances. He went with Harry Walters as he called Henry, he went with Harry Walters in 1903 to visit Ms. Cassatt Mary Cassatt the painter and Walter immediately ask Ms. Cassatt if she would sell him her Monet and a small head by Degas. Several days later Lucas goes around to find out what the answer is and she says she will and Lucas picks them up and ships them home for Henry Walter, it's a very beautiful little Monet as you can see and very typical of something that Mary Cassatt might have well owned. Lucas was also buying pictures for her incidentally and tried to get a Koro in 1903 but note sadly that it was already sold to Moro Nelican. Now if the impressionists are in our minds a missions for man who was living in Paris to his late as 1909, perhaps they not a mission from Lucas's point of view, we must still explain for instance that there were many people that he was familiar with and bought pictures from who do not appear in his own collection, Moro is one of them, very popular and very expensive painter, and he bought his pictures for all the other Americans who came, but there is not one in Lucas' collection nor is there a Duveltje, nor Augusta Duarte, nor Grover, nor a Charles Caplan and here one of the most frazzled and expensive and popular artist of these day William Walters bought some other people bought some but Lucas was wise enough to stay away. (inaudible 54:15) bedas, perhaps you can see why, as a beda that was brought for William Walters album. Walters wanted in his album I think a representation of everybody who was working at the time, but it's a very sleek and non interesting picture is the most of bidas work was, but they are none by dozens of others. In other words the collection upstairs is not just an accumulation of things that Lucas had but the things that he want him and the things that he brought together and the things that he understood for instance look at this charming picture by Benar called Motherhood. A painter who is very little known that he bought Benar for himself but he didn't buy Benar for anyone else. For some of the relationships about purchasing or little bit odd some feel than go who he knew for the entire span of time that the two of them were in Paris he bought Dutch T and he say fine steps to give Theo Van Gogh when he went by the shock, he did buy print from him but never a picture. And then this Van Gogh as you know was a picture. He spent very little on himself actually Lucas informing his collection the things that he brought and the Koros were about the most expensive pictures but at the same time he was spending 75 to 80,000 francs per picture for other people. For instance the Delaroche Hemicycle for Walters or for Frank Frick 22,000 franks for an eve by Cabanel. And he was buying for 15 or 20 francs things which today we think are great deal better than the pictures by a Cabanel and Delaroche. Incidentally, there is a beautiful portrait of which I don't have a slide by Cabanel upstairs in the exhibition of Lucas. He sat for at least eight painters, two of whom I have shown you and the Cabanel is upstairs. Now there is one special relationship that stands out above all the others and that that is Barry and here Lucas struck upon something which was quite unique at this time. It was he I think rather than William Walters who rediscovered Barry and made friends with him and I think that he led Walters to him and it's quite clear that he knew him well there were 55 recorded visits prior to Barry's death in 1875. This is a very special relationship quite clearly, and Lucas took everybody he knew to Barry studio and in fact reestablished Barry as a major figure and in the year of Barry's death in 1875, he was finally recognized and given a great exhibition. But he is a man who had fallen on hard times because in the 1830s, he was patronized by the Duke Dolio he was considered the great sculpture of this time and unfortunately the Duke died of premature death and left Barry without a patron and without any public influence and he was really languishing and Lucas arrived in Paris 20 years later. On the screen is the great bronze of the Tiger Hunt on top of an Indian elephant which was one of the things that the Duke Dolio commission. This was the center peace or a dining table and there were four other hunts to go round it. This kind of peace Lucas sort out very carefully the Walter that's great unique thing a wax cast and so were the other hunts they went around it. He couldn't afford to buy these. These were for Walters and for Corcoran and for the people who had a great deal of money. Now we notice that Lucas bought all his bronze almost all of them directly from Barry when he could and drawings and if we look at it in his reality from historical point of view, his collection is the third most important in the world of Barry but he is directly responsible for the other two. He is directly responsible for William Walters collection and he is directly responsible for the collection of the Corcoran gallery of art in Washington which he sole bought and help select and had shipped. He watched Barry work he sold his bronzes and drawings. He took his American friends there the Buckler's house, the Jenkinss House and other houses in Baltimore and elsewhere where supplied as Barry bronzes. There were great many beautiful ones upstairs here is the famous tiger on the Gavel. He carried Barry drawings all over Paris to other artists and dealers to study them and to sell them to Zean, to Trams that one is unusual. It's not one of the great bronzes, I don't think but it's unusual in being a domestic animal. Barry tried to avoid I think, his drawings are very interesting here is one of them a bear attacking a bull that you will see upstairs and they obviously interested Lucas very much. We notice again on the price scale that while Lucas was buying directly from Barry he didn't always pay the same price as everybody else. He for instance bought the center group in 1867 for a 145 francs, Corcoran bought the Centor Group in 1875, for 5400 francs or something over $1200 more. This is the Minotaur you will see upstairs and here the Eagle and the Stork which was to some strange reason one of Lucas' favorites he bought this for lots of people, we call it the eagle in the heron today but he refers it to Eagle and the Stork. One of the references that Barry's and bought Graham Brown's Eagle and the Stork and a tartar horseman for myself. There is a really handsome Tartar Horseman. Here one of the famous hunts, and then Barry turned a little bit wild was an ape riding a gnu. One must remember that Barry studied his animals at Jardin Des Plantes in the zoo in Paris where certain juxtapositions that appear in his work such as two bears wrestling you might have an American brown bear wrestling with the Japanese black bear something that was only possible in the paris zoo. And I think this one probably wasn't even possible in the Paris zoo but that's where he studied the figures and some as you say are very direct observations of animals like this very handsome cast of a camel which is upstairs and has a very beautiful color. There is almost no type of animal he didn't study here is a wounded boar, and this because this is an exquisite bronze you can almost feel that the tail of that big cat is just about the snap. Just when he puts his hand or on top of that -- And here the horse attack by a lamb which was a present doing from William Walters for some extraordinary reason gave him two casts of the same bronze on the same day. Now that we can glean anything from the diaries about Lucas is a miracle, as he was really one of the most trusive men. He was so quite and self-effacing that he is not noted by the biographer of any 19th century painter that I can discover. He appears in a book on Whistler merely because Whistler painted his portrait but the relationships with the artists are virtually unknown for the simple reason that he never talked about them and kept them to himself, one part of this correspondence only has come into public hands outside of Baltimore and that is his letters to Whistler which you are now in Scotland in the Glasgow Art Museum. He was so terse that he noted the death of a good friend like Bolavar as merely death of El Bolavar by hanging in his diary and he noted the German entry into Paris 1971 and less than six words.
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