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Through his numerous contacts, Pach was able to obtain etchings, engravings, lithographs, woodcuts, and the like on consignment; the artists represented included Rembrandt, Picasso, Matisse, Millet, and others. The president of B. , felt that the gallery’s major attraction was the fact that Pach personally chose all of the art offered for sale. To emphasize the point, Pach’s name appeared in all of the news releases and newspaper advertising. Shortly before Pach’s sixty-seventh birthday he received a letter from the French Embassy in New York which read: 23 INTRODUCTION Jacob Lawrence, Subway—Home from Work, 1943.

55. William Howe Downes, “John Ruskin and Walter Pach: Defenders of the Faith,” American Magazine of Art 20 (Aug. 1929), 458, 459. 56. Walter Pach, Ananias, or the False Artist, 16. 57. William Howe Downes, John S. Sargent: His Life and Work (Boston: Little, Brown and Company, 1925), 215. 58. Walter Pach, “Painting. A Grand Provincial,” The Freeman 7 (April 11, 1923), 113. 59. “Pach Back,” Time 20 (Oct. 3, 1932), 34. 60. Letter from Walter Pach to John Sloan, Feb. 13, 1932. John Sloan Letters, Helen Farr Sloan Library, Delaware Art Museum, Wilmington.

Walter Pach Papers, Archives of American Art (AAA), reel 4220, frame 362. 4. Walter Pach conversation with the author, Sept. 5, 1952. 5. “The Collector,” The Art Amateur 40 (May 1899), 115. 6. The Art Spirit by Robert Henri, compiled by Margery Ryerson. (Philadelphia: J. B. , 1923), 71. 7. Letter from Frank R. Wadsworth to Walter Pach, [postmarked] March 2, 1905. Walter Pach Papers, AAA, reel 4216, frames 745, 746. 8. Walter Pach, “The ‘Memoria’ of Velasquez,” Scribner’s Magazine 42 (July 1907), 38–52.

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