He rarely found two dealers agree in judgment. He once bought a
water-color from the artist himself out of his studio, and had it
doubted an hour afterwards by the dealer to whose place he took
it for framing He was reduced to admit that he could not prove
its authenticity; internal evidence was against it.
One morning in early July, 1867, Palgrave stopped at the
Legation in Portland Place on his way downtown, and offered to
take Adams to Sotheby's, where a small collection of old drawings
was on show. The collection was rather a curious one, said to be
that of Sir Anthony Westcomb, from Liverpool, with an undisturbed
record of a century, but with nothing to attract notice. Probably
none but collectors or experts examined the portfolios. Some
dozens of these were always on hand, following every sale, and
especially on the lookout for old drawings, which became rarer
every year. Turning rapidly over the numbers, Palgrave stopped at
one containing several small drawings, one marked as Rembrandt,
one as Rafael; and putting his finger on the Rafael, after
careful examination; "I should buy this," he said; "it looks to
me like one of those things that sell for five shillings one day,
and fifty pounds the next." Adams marked it for a bid, and the
next morning came down to the auction. The numbers sold slowly,
and at noon he thought he might safely go to lunch.
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