DOI Page / Citation link:
https://doi.org/10.11588/diglit.68073#0011
PREFACE
It is noteworthy that the first book to be published in any country
and in any language treating of Old Masters in private Collec-
tions should be devoted exclusively to treasures in America.
Old World Masters in New World Collections may be called a
permanent loan exhibition of the greatest and most renowned examples
of Art in America, which cannot be seen anywhere but in this volume.
It is owing to the gracious response and courtesy of the most dis-
tinguished American Collectors that I am able to present between
these covers a selection of a hundred and ten of the choicest paintings
in the country, representing portraits, religious and mythological
subjects, and genre from the Thirteenth through the Eighteenth
Centuries.
One of the principal factors in the formation of many of these mag-
nificent Collections has been the outstanding influence of Sir Joseph
Duveen, Bart., under whose guidance the foremost American Collec-
tions have been raised to a dominating position in the world of art.
It is significant that among the paintings reproduced here, the
greater number have been brought to this country by Sir Joseph
Duveen; and I am happy to express my thanks to Sir Joseph for his
enthusiastic interest and encouragement to me throughout the entire
preparation of this volume.
A very interesting feature in this book is the distinguished ownership
of these paintings: Frederick the Great, for instance, owned Lancret’s
La Camargo, the celebrated French dancer; Queen Christina of Sweden,
Raphael’s Agony in the Garden; Madame de Pompadour, Chardin’s
La Serinette and Boucher’s Les Deux Confidentes; Sir Joshua Reynolds,
Rembrandt’s Standard-Bearer; Sir Horace Walpole, Rembrandt’s
Simeon and Mary; and Charles Le Brun, Poussin’s Jupiter and Calisto.
Fra Filippo Lippi’s Madonna della Stella came directly to the present
owner from the Monastery of the Carmine (Florence) for which it
vii
It is noteworthy that the first book to be published in any country
and in any language treating of Old Masters in private Collec-
tions should be devoted exclusively to treasures in America.
Old World Masters in New World Collections may be called a
permanent loan exhibition of the greatest and most renowned examples
of Art in America, which cannot be seen anywhere but in this volume.
It is owing to the gracious response and courtesy of the most dis-
tinguished American Collectors that I am able to present between
these covers a selection of a hundred and ten of the choicest paintings
in the country, representing portraits, religious and mythological
subjects, and genre from the Thirteenth through the Eighteenth
Centuries.
One of the principal factors in the formation of many of these mag-
nificent Collections has been the outstanding influence of Sir Joseph
Duveen, Bart., under whose guidance the foremost American Collec-
tions have been raised to a dominating position in the world of art.
It is significant that among the paintings reproduced here, the
greater number have been brought to this country by Sir Joseph
Duveen; and I am happy to express my thanks to Sir Joseph for his
enthusiastic interest and encouragement to me throughout the entire
preparation of this volume.
A very interesting feature in this book is the distinguished ownership
of these paintings: Frederick the Great, for instance, owned Lancret’s
La Camargo, the celebrated French dancer; Queen Christina of Sweden,
Raphael’s Agony in the Garden; Madame de Pompadour, Chardin’s
La Serinette and Boucher’s Les Deux Confidentes; Sir Joshua Reynolds,
Rembrandt’s Standard-Bearer; Sir Horace Walpole, Rembrandt’s
Simeon and Mary; and Charles Le Brun, Poussin’s Jupiter and Calisto.
Fra Filippo Lippi’s Madonna della Stella came directly to the present
owner from the Monastery of the Carmine (Florence) for which it
vii