MODERN OLD-WORLD ART.

Auckland Star, Volume LI, Issue 291, 6 December 1920, Page 9

MODERN OLD-WORLD ART.

(Published by Arrangement.)

A UNIQUE EXHIBITION. COLLECTION" IN" AUCKLAND.

The attention of art connoisseurs no lese than all those people who have a natural love for beautiful and highly effective work has been arrested by a particularly line exhibition of watercolour drawings and original etching which may now 'be seen in Auckland. Nothing has yet come here quite so tine as this collection, which graces the walls of the VVilbar Art Oalleries, at tho top floor of the Imperial Buildinge in Lower Queen Street, and it merits inspection by those who are interested in the modern art work of England and the Continent.

There are three galleries filled by the collection, one being devoted to English landscapes in water-colour, with a range of Eastern subjects by Continental artists anil one or two signed proofs of coloured etching. The landscapes by A. Sinclair, Maud Hollyer, and Lcyton Forbes have a prominent position. Theresa istannard, daughter of Sylvester i-tannard, who is well known in the art world at Home, has sent three or four of her highly-esteemed English cottage studies, and several pieces of the same class of work by (J. Howard are representative of tins English artist. A feature is a very fine raaJ'Sc study, "Becalmed," by Fred. R. Fitzg°rald, an exhibitor at the Royal Aeadeijiy. In this landscape gallery there are also several richly-coloured pictures of Eastern subjects, some by the hand of V. Loria and Capuano, two Neapolitan artists who have won diplomas in London and Paris. Many of the artists who are here represented hold a high place in England, for the works of exhibitors at the Royal Academy hang side by side with those of members of the British and Royal Watercolour Societies and Associates of the Royal Cambrian Association.

Another gallery is given over almost entirely to black and white etchings, and quite a number of splendid samples of that coloured etching which, largely under the' influence of the French school, has recently come so much into vogue in England. The beautiful colour work of Julian Selos and of W. Rennison, who has exclusive exhibitions of his own work in London, attract a great deal of attention. Then there is the Dutch artist Jan Poortenaar, who is now mak ing a great reputation with his colour-and-line 'work, and three or four colour etchings by Manuel Robbe, whose work is of the finest French school, are also on the walls. Practically all of these pictures are single samples, where a strictly limited number of artiste' proofs have been struck off, and here in New Zealand they may fairly be claimed to be unique.

Much of the black and white etching on view in the main gallery is devoted to architectural subjects, the depth ana delicacy of tone making in much of the work an appeal of rare power. In the landscape work a pleasant grace and ease is in harmonious combination with great detail and subtlety of line, giving a remarkably truthful result. The signed iproofe of Albany Howaith, the two ladies Dorothy Woollard and Kathleen Jeffries, are in many instances striking pieces of work, and Luvey, a coming Italian master, is responsible for several specimens of rare power.

The exhibition also embraces a series of reproductions of classical statuettes, most prominent among them being , one or two especially fine examples of the Venus de Milo and the Venus de Midicl. Spinario, that well-known figure of the boy extracting a thorn from his foot. the Dying Gaul, and one or two more of ecareelv less merit.

Altogether this exhibition is remarkable, for the work both in colours and line covers a wide range of the best work of modem artists in the Old World. Especially pleasing is the landscape gallery, though those who appreciate the etched line will find a peculiar satisfaction in the samples of English and Continental skill that are shown. Practically everything in the three galleries, with the possible exception of the statuettes, may truthfully be looked upon as unique. A fair proportion of the work has a comfortably high commercial value, but this is only to be expected, for it presents to the people of Auckland a decisive advance upon what they have been accustomed to view.