OBJETS D’ART EXHIBITED

Press, Volume CIV, Issue 30900, 5 November 1965, Page 18

OBJETS D’ART EXHIBITED

Once again Beath and Company, Ltd., has organised a selling exhibition of objets d’art, including porcelain, glass, silver, Swiss and German clocks, and furniture. The exhibition held last year was a windfall caused by a consignment for a trade fair arriving late; the present exhibition stems entirely from the policy and initiative of its promoter. The aim, I am told, has been to bring to New Zealand articles which are first-rate in their field and which, because of a variety of reasons, are not likely to be imported again. The exhibits, at a rough estimate, are probably valued between £12,000 and I £14.000, but monetary value and uniqueness have little or nothing to do with artistic worth. I must confess at once that a great deal of the exhibition is not to my taste. Because of this I may not be the right person to review it. Visitors to this exhibition should avoid adopting the extremes of modernism and antiquarianism (modernism condemns everything not avante-garde, antiquarianism admires old things simply because they are old), since both positions are false. One simply cannot avoid the soulsearching and arduous process of making value judgments. I admire many examples of modern design for the way universal principles are adapted to new materials and processes. I love many old things for precisely the same reason, and often with the added pleasure that comes from recognising the individuality of hand and eye, in short, the personality expressed through form. I for one cannot agree that all ornaments are bad simply because they are ornaments, but instead prefer to judge these “useless things that lend value to life,” each on its own merits according to the values established by practice and historical study. Now to the exhibition. This must surely be regarded as a clear-cut victory for modern design, with top marks to the Royal Copenhagen teapot (illustrated above) so beautifully decorated with “on glaze” enamel in a manner reminiscent of exuberant i Nordic folk art traditions. The painted and modelled figurines in contrast appear sicklv sweet and slightly inbred Exquisiteness of finish onlj highlights the underlying I poor form and often inappro-

priate decoration. One has to search hard to find glass which reaches international standards in excellence of design, but the search is well worth while when one comes across a large, flat, circular trencher of Hadilaud glass with its subtle contrast in colour and beautifully discreet vortex decoration in the centre.

Once again the best blown glass comes from Italy. The simple stoppered blue bottle and amber-coloured jug costs only a few shillings, but are among the best things in the exhibition. Similarly, the Kastrup lipped bottle, its soft, langorous, dark sap-green colour enhancing its severe parallel form. The Italian tumbler sets are a great success, especially in flaming orange; with their woven basket chargers they would look equally well inside or out of doors and be especially suitable for iced drinks.

Rather oddly, some of the best things in the exhibition are tucked away in dark corners. One of these, a staved teak ice bucket is a superb example of Danish craftsmanship at its best. So is the Lundtofte stainless steel, especially the exquisitely shaped salad bowl and teakhandled servers. One of the best Individual pieces of pottery is a corked Bornholm bottle.

The conversation pieces I i found generally disappointing. It seems to me that these must be judged against the lively tradition of English, German and Scandinavian figurines. By these standards, and even Staffordshire, many of the exhibits failed to excite my imagination. What can one say about the Matador and Bull? An unfortunate and costly mistake? I ifear so. The refinement and [force one associates with I Machin's bull are not present

here. The form is flaccid and the colour undistinguished, and unfortunately its price of 1000gns has nothing whatever to do with its artistic quality. There is, however, much for the discerning and informed buyer, especially since many of the best things arc modestly priced.

If the Australian ceramics, proudly bearing their trade seals, are anything to go by, then the New Zealand ceramic industry has nothing to fear by way of competition, and. indeed, should do well in Australia.

It has been pointed out to me that because of recent changes in regulations controlling the importation of ceramics, this may well be the [last opportunity for buyers to [acquire these exhibits in New Zealand. While all the works are for sale, I understand that |the complete exhibition will [remain on show until WedI nesday.—HJ.S.