VALUABLE WATER COLORS

Evening Star, Issue 19588, 21 June 1927, Page 8

VALUABLE WATER COLORS

The first thing that strikes one in visiting the rooms of Park, Reynolds to inspect the collection of water colors displayed on. the walls and to bo disposed of by auction on Thursday is the brightness of the exhibition, There are low-toned pictures, as, for instance, the two examples by T. T. Soper, R. 1., both of which display masterful treatment and skilled design, and amidst the wealth of color miaht bo missed by the casual visitant The centre piece is ji large work by Arnold Jarvis, No. 45, ‘Mount Sturgeon, Victoria,’ with remarkably natural gum trees in the foreground and an indelible impression of an Australian hot day. Alongside this is No. 24, by Charles Dixon, ‘ The Tower Bridge,’ a remarkably fine piece of water color drawing of tho crowded river with its steamers and other craft manoeuvring for position, the air darkened from the smoke pouring from their funnels. No 40, ‘On the Amalfi Road,’ by Professor S, Petniolo, depicts the sea and cliff along which runs the_ high road, and in the centre of the picture an Italian cart with a mixed team consisting of a horse, bullock, and donkey harnessed three abreast—a common sight on this road. Three httlo gems, almost immediately below this picture, are Nos. 33, 34. and 35, by T. Marjoribanks Hay, R.S.I. They are impressionist in stvle. and the work of a real artist. If there be any choice, we give the palm to No. 33.' ‘ Newtownmorc, Scotland.’ Claude Hayes, R.I, is represented by one picture which is_ hound to attract visitors, ‘ Harvest Time in Kent.’ E. H. Martin has three pieces, each in its own way a treasure, but ‘ Bordon Moor and Tower, Yorkshire,’ will, we think, he declared the pick for its exquisite coloring and artistic composition. R. A. Tv. Marshall, R.W.S. (No. 54), is the painter of ‘Ashdown Forest, Sussex,” a picture of which no one would ever tire, as the coloring and drawing are so absolutely natural, and suggest the quiet beauty of the_ English country Madame A. Brandeis has a small exhibit (No. 61). ‘ ThePiazzetta, Venice.’ It is the only oil in the collection, and it is well worth inspection. On no account should this work he overlooked. There are examples by Professor Loria, Harold Foster, Wilfred Holmes, Sydney Kemble, Professor L. Van Stnaten, and a number of others whose works are in many instances quite as good as the ones above described, hut space precludes more than a passing reference to a few of the eighty-nine pictures on the walls. Wo recommend the public to inspect this remarkably fine collection.