ART COLLECTION.

Otago Daily Times, Issue 21267, 23 February 1931, Page 8

ART COLLECTION.

The catalogue of 75 English and Scottish oil and water colours, issued by Messrs Park, Reynolds, Ltd., discloses a wealth of contributors well known in the art world and names to conjure with, Sir Alfred East, J. C. Dollman, M. H. Collyer, Sir J. D. Linton, W. E. Webster, Claude Hayes, T. R. M'Quoid, A. Chantry Carbould, C. P. Slocombe, Herbert Marshall, G. Cattermole, Stuart Lloyd, and many others of equal distinction. The collection, as viewed upon the walls, is certainly a most interesting and varied one, witli works to delight all classes of buyers—sporting scenes, genre painting, stately' homes of England, real moving sea pieces, glimpses of Cornwall and Devon, the Highlands and Mid Counties, arid as most of the pictures are small they are suitable for the present-day home. Certain of the works stand out for special mention, and, though tastes naturally differ, the following should appeal to art lovers generally: — “ The River Near Bolton Abbey,” by •Sir Alfred East, a splendid composition of placid stream, green meadows with sheep, and individual trees, makes a charming picture. “ The Rush Gatherers,” a broad piece of water colour hrushwork by Claude Hayes, who had a style of his own and was able to harmonise his colouring as few artists have been able to do. Nos. 63 and 64 are two sporting pictures, “ The Morning Exercise,” by Herbert Marshall, showing the pack out’ for a run, and these are sure to attract attention for the faithful drawing and treatment. No. 73, a large oil by A. F. Grace, “Haymaking in Kent” (exhibited at Royal Academy, 1874), deserves a keen study as the treatment of sunshine and cloud effects are really remarkable, and the whole forms a most pleasing piece to the eye. “The Mumbles, Swansea,” by W. R. Beverley, is a clever piece of work in water colour, the drawing is good, and the colours are soft and low. J. C. Dollman, in “ The River at Hatfield,” gives a true representation of an English pastoral—meadow, foliage, bluebells, .and deer. “ The Quiet Hour,” by Fred Hines, is one of the large works, and is distinctive for the fitness of its naming. It is the quiet hour of sunset on the houses — twlight on the bridge. “ Woa!-mTad!-woa! ” by A, Chantry Carbound, represents a four-in-hand with full coach and four spanking horses. The leader has kicked over the traces, and the excitement of the passengers and the quiet unconcern of the whip is clearly portrayed. No. 68, “ A Fishing Hamlet on the Bristol Channel,” is a piece of clean water colour —a large sheet, with blue water, bright sunlight, old world houses, fishermen, and women, and the pier. The return of the fishing boats with their brown sails is very effective and adds interest to this beautiful work.

“ Near Southampton,” by W. H. Smith, is a beautiful little piece of English meadows and forest, and C. Ashton, “ The Mill on the Floss,” has given us a dainty pastoral which will, we feel sure, attract the notice of all who view the collection.

The remaining works of the collection are all good of their kind, and many of them may be selected by purchasers as against those mentioned, but in picture buying it is purely a matter of the individual taste.

The sale is advertised for Wednesday next, and the collection is to be on view from this afternoon until the time of sale.