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No. IV.—The Water Colors,

R Wallwork, in his study of a Teneriffe Inlander riees to the force et-en in the best of iiis painting in the oil section. There is a fine sens<. of decision in the fetudy, and plenty of animation, and we do not remember any face like this before.

In A. J. Bae's work previously noticed we kiiw abundant promise. In his study from life of a black man (No. 248) nv perceive a large measure of fulfilment. As to pose and oxprestiou nothing bettor could be desired. And that this is not a mere chance .success is proved bv the merit in Air liae's other study (No.* 281). It is strong and sound wo/k, and the artist who can do so well may go to anv height

J. Balfour's big tree (No. 249) is a capital 6tudy in a rather overloaded canvas. We like his luggers on tiic beach (No. 251), and there is a glonous shaft of sunshine, on top. • Sea Urchins' (No. 283) is also creditable. Mr Balfour has not put too much in the frame. The .Middlesex landscape (No. 303) is somewhat too soft.

' Waning Summer, Sussex' (No. 250) is C. N. Worsley's masterpiece this year, and very properly given the place of honor in the water colors room. It is comprehensive and harmonious. Half a dozen pictures could be picked out of it, yet it is essentially one. In that respect' (perhaps in others also) it surpasses 'A feussex Homestead,' another ot Mr Woisley's near by. The quality of the painting is masterly. 'Holborn* Circus' is another undoubted success. Mr Woi6ky's drawing is here of peculiar value, and he gets the thick air of London with as much fidelity as the thin air of Florence. ' Shores of Lake C'omo' is not so good. Mr Worsley is probably of the same opinion.

Wo should be admiring A. E. Kelly's 'Lace Cap' much more than at present if it were not for recollections of her greater successes in the next room. In passing, why not a prettier face? M.M. Duportal's Brittany sunset (No. 263) achieves its purpose. Iho fareweliing oib is woiking wonders. We take leave j to think that, his 'Bills in Brittany' is fanciful as to color. The sky is too grey to furnish such flame. Same with ' Fishermen's Homes.' The canvas is alirc. No. 300 is more worthy oi this ai list. There is c. nice feeling of ped-ce. in the scene. ' Old Houses in Brittany' (No. 321) is perhaps the best of the lot. The lighting contrasts are splendid, and the treatment is strong. Mabel Hill's 'Myra' is of the same type as her ' May,' out not quite so good. The 'Firelight Study' is charming and clever. The light is splendidly d;il'used, and tho pose of the sitter is expression. ' A Breezy Day' is a spirited landscape, but we can call to mind other landscapes by .Mabel Hill that we liked more. " Owen Merton's remaining works are mostly of the same sort as those previously referred to, with the exception of •The Little Back Street' (No. 275), which in our judgment is the best of his collection, showing power and the thought that usually begets more ]x>wer. It is just a modest and plain etudv, as honest as the day. 'At Sumner/ by M. Bower, portrays with strength and faithfulness the rather unpromising subject of a rock road going into a cutting. , , •• Glad to see Howorth again! ' said one of the visitors as he appioached No. 261. The mistake can be understood. Tho signature is that of F. He has the Howorth treatment of water and hush,-not only in this, but in No. 272, 'Bv Tranquil Waters.' 1. H. Burton's ' Fishing Boats' is well worthy of its olace on the walls. From H. K.' Cole we have a very nice sea piece, called 'Dawn and the Rising Wind.' The presentation is of a barque in light trim under topgallantsails. We seem to smeil early coffee and to see again tho lazy "tumble up of tho hands. 'The End of the Drift' is good >« " tho '' respects, though one does not often see a stranded steamer head on to the h?ach after the tide has left her. « The pick of C. Y. FelPs contributions, according to our views, is that of 'The Biver ifother.' It is p. pleasing little landscape. ~.,,. Of the rest of ft Herd man .Smiths exhibit*. W6 likO most 'Old Houses and] Bridge' and 'A Street in BoutoU.' Iho merit of tho latter may bo missed if ( you put your eyes against the canvas. Stand back and see what a deep view it is. Wo gladly recognise the good points about 'The Village Spire,' by W. T. Wauchope. It is quits a nice bit of work, very fevflh-looking. . . M A. Park has three works m this part of'the room, all good. The sunset (No. 310) is a little aem. Mrs R. Wallwork's etching (' Undine ) may bo lacking in tone, but it is beauhfullv drawn and expresses feeling. C F. Kelly's 'Kairaki' has a rather deep foreground. We would have liked to see more of that lovely wver. Vo need to ask as to the authorship or''Windsor Castle' (No. 286). It could not be anybodv but W. Menzies Gibb, and W.M.G. at'his best, The water alone is a picture. In this piece we have perfect refinement apart from feebleness. 'Church Lane. Windsor' (No. 269) is also a'success. It is interesting, and very clever in the del-cate darkening of the lane. , K. WoodhouM displays great taste and skill in ' Apple Blossoms,' ' Stone Pines, Svttriey,' and 'Catlins Bush.' In these paintings we see how far detail can be introduced without confusing or enfeebling. Mrs Woodhcusc is to be sincerely congratulated on hov great succefs all round nt this gallery. 'Mary Stuart.' tent by Mr Kalph Ewinu', is the work of M. 3. M'Leod, and a studv that lingers in the eye. It is direct work o? hii'h -quality. > Congratulations may be tendered to V. Svk-.» in riau.ct. to h'« Yorkshire landsoaw, 'Jn W»n»l«jdal*,' The f«rm\«oene \i cWeriy and artistically r*pre*ented, and the pointing is.skilful < -- C. Bickerton's 'Launching tho Boat', is spirited and altogether pleasing, and ' The Old.lnn' is particularly clean work. Thanks ate due to Evelyn AL Munday for her 'Near Cashmere.' It makes proper use of tho water color medium, having all the required sparkle and.

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OTAGO ART SOCIETY, Issue 15643, 6 November 1914

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OTAGO ART SOCIETY Issue 15643, 6 November 1914

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