The Mackelvie Collection.

New Zealand Graphic, Volume XXXIII, Issue XVIII, 29 October 1904, Page 21

The Mackelvie Collection.

SOME RECENT PURCHASES. UNSLITARLE FOR THE GALLERY. The princely bequest of works of art which the late Mr Mackelrie left to the City of Auckland forms the nucleus of what may become so perfect a municipal possession, ami the income ho bequeathed for the increase of the collection lias already added some such beautiful paintings thereto, that every intelligent citizen is naturally interested in the arrival of such new additions as from time to time come to hand from the London agent of the trustees, Mr Marcus Stone, R.A., and is anxious to see what has been secured for us. Usually we have had reason for satisfaction with the choice nude for us, but this is not invariably the case. Some years ago, for example, it was generally felt that too much attention was being given to pictures of what was then in British ait circles known as the Scotch school, and it was pohited out that, clever as some of these pictures might be in tlieir particular style, they were not generally attractive, and lay moreover under Ilia suspicion of representing a very ephemeral and, indeed, eccentric phase ot art, the fashion at the time, but foredoomed to presently disappear, so that even if it were desirable to have a specimen or so, that was all. A hint to this effect was courteously taken by the trustees, pictures of a school which it was suggested would be welcome were bought on several subsequent occasions, and the collection began to take excellent shape. Last year, owing no doubt to fear of certain legal, expenses, which fortunately did not arise, and to the possibility of having to erect a building, no funds were disbursed, and the amount available this year must have been a very useful one, for such a community as ours. The pictures purchased therewith are now at the Maekelvie gallery, and the good spirit in which former criticism was taken by the trustees makes it easier to say, without beating about the bush, that a more unsatisfactory and disappointing addition to the collection has never been made since the trustees started to administer Mr. M.iekelvie’a bequest. The pictures are seven in number, and. speaking without the book, but with some knowledge of the average price of pictures by men of the several calibres represented, have probably cost little under £7OO, and may have run into figures beyond that stvn. Amongst the seven are two of note -the one by Mr Fred. Hall, because it is unquestionably a fine work, an< the other by Mr. David Murray, beea ise that artist holds a premier, perha' .s even the supreme, place among modern English landscape painters. The other five vary from mediocrity to absolute crudity, and have neitlie'' interest, attractiveness, nor tkjj name of any great master of art to recommend them for addition to a collection as yet in its infancy, and to which, therefore, the uttermost pains should be devoted that each picture purchased may be a gem of its owu class or school, and bear indelibly on its face the reason for its inclusion.

In another column we give the opinions of such Auckland artists of repute as time has permitted an interviewer to consult. Messrs. Goldie, Walter and Frank Wright profess themselves disappointed with the year’s purchases, all making an exception of Mr Fred. Hall’s picture, ‘‘Silver and Gold,” and all deploring that so wretched a specimen of the work of Mr David Murray should have been selected. Mr Payton, being connected with the gallery, preferred not to offer a public opinion. As Mr Goldie says, the pictures chosen for such a gallery as ours —for any public collection, in fact—should serve one of td‘O purposes. It should have its story to tell, that is to say, it should attract the eye, arouse the instant interest, stimulate the imagination, and elevate the emotions. One does not necessarily mean a genre or figure picture. Mr Sonierscale's lovely picture, “The Flying Squadron,” tells its tale, and atttracls just as greatly ns does Blair Leighton’s “Time of Peril,” but tha picture should possess magnetism—• should attract the eye again and again even of those unversed iu the finer technicalities of art.’Such pictures prepare the way for popular appreciation of the second class of pictures, which should have their proportion—pictures,

that is, by master represen tat ires of certain styles and schools iu arl, and which arc of deep instructive value to students and artists who cannot gel to Europe io see and learn for themselves. This principle lias been followed for twenty years or more in the provincial galleries of Liverpool, Manchester, Birmingham, etc., all of which possess magnifieeut and ever-growing collections of the highest value aud interest. It may be objected that our funds will not permit of our acquiring tbe absolute cream of the market. Big pictures cost big money. Unquestionably, but is it not better to spend, say, £ 7UO on one good thing than the same sum on seven more or less cheap exhibits! Moreover, why purchase every year, or even every two years, if the best does not come williin our means! Why not let funds accumulate till they do! When Liverpool had the chance ot securing "Dante’s Dream” for some £7OOO or £BOOO, objection was raised that that sum would buy halt a dozen good works. "But not one supreme masterpiece,” thundered the then Chairman of the Arts Committee furiously. He stuck to his guns and carried the point, and Liverpool possesses a picture easily saleable at. twice the figure paid for it, and which brings visitors from all parts of the world. If we want a Sargent, a Salomon, a Wyllie, an Orchardson or what you will, from amongst the giants, or those rising men who are becoming such, why, we must pay for and wait till we can pay for them. And surely we would like representative pictures from such men? Could we not do, too, with a fine military picture, such as Mr W. B. Woolens’ “Storming the Boer Trenches al Pieter’s Hill, Natal,” or “Rorke’s Drift,” in the Sydney Art Gallery! We are a young community, and ean bide our time; only let us have the best when that time does come.

Again, Mr Wright is wise in suggesting an occasional water-colour, and to go further, even in oils or water, why should the trustees confine the buyer to the English exhibitions? Let our collection be cosmopolitan. The trustees are, we believe, of the opinion that local works should not at present be acquired, and we believe the majority of artists here are for a time content to bow to this decision, feeling that by this means pictures of instructive value can be obtained from Home. But if mediocre work, such as that selected this year, is the best that Mr Stone can find for us iu the Old World, then it would unquestionably be better that the funds should be devoted to securing the best that local talent can supply, which can certainly furnish something vastly superior to the majority of the pictures now added to the collection.