THE BAILLIE GALLERY.

Dominion, Volume 5, Issue 1437, 11 May 1912, Page 3

THE BAILLIE GALLERY.

GIFTS AND PURCHASES. A.l a conclusion to these notes on tho Baillie collection, a brief review of tho acquisitions by tho promoters of the movement for a National Gallery, by gifts from generous donors and by purchase, will not be out. of place. Tho actual number of gifts ifl twelve, and the number of purchases eloven. Taking those pictures in numerical order by the catalogue, wo corao first to "Gabrielle" (No. 15), by Mary }oung Hunter-the portrait of » child. This was No. 582 iu tho catalogue of exhibits at tho Royal Academy, WUB, and is reproduced in the volume of Royal Academy pictures for that year. This portrait is very popular. The artist has brought into strong relief tho bright complexion of the young fago against the deep dark tones of tho rest of the picture. The only touch of colour is in tho bow of pale pint satin ribbon which peeps out under the child's hat. This work is the gift of Jlr. Sidney Johnston. ■ "Brigantine going into Littlehampton Harbour" (No. 17), by Nelson Daweon, has been acquired by public subscription, and is one of those pictures already noticed.-' The scene is tho entrance by the Pier Head. A good index of public taste is found in this choice. The picture is not only a very good example of marine painting, but there ie a Home note about it. It will be worthy of a prominent place in the gallery. "If No One Marries Me" (No. 31), by Mouat Loudan, is a gift by Mr. It. Hannah. The subject is a young girl contemplating tho possibilities- of life by the medium of her'hand mirror. The poetry of the idea is well expressed, and the artist has wisely and effectively kept tho colouring of the picture subdued. This artist has the sense of idealism, and has painted an attractive picture. The gallery is the richer by this appreciated gift. "Blue and Gold" (No. JO), is also by Mouat Loudan, and has been presented by Mr. and Mrs. D. Riddiford. The subject of the picture is a lady dressed in shot silk, the material of the dress reflecting blue and gold. This artist produces charming portraits. Some of his w,orks were exhibited at the Royal Academy in 1905 to 1908, and will be found in the volumes of R.A. pictures of those dates, inclusive. This picture is a handBome contribution to the gallery and very much appreciated. "Sunshine and Shade" (No. 46), by E. A. Walton, R.S.A., has been purchased for the National Gallery by the Commit tee of Selection, doubtless as an example of one of the modern schools of landscape painting. The artist is very free and effective in his broad treatment of his snbject, and manages to produce a shimmer of light through the haze which rises from tho valley in the centre of the picture. The generally blue tone of the wholo picture rather modifies the effect of sunlight. The horseman under the shade of the tree indicates that the climb from the distant valley has been sufficiently arduous. This is a good picture of its kind; it will have 'many admirers, and will bo very useful in the gallery as an example 'of pointing in oils where the question of surface is of secondary importance in the uso of pigment. "The Brook" (No. 49), by Bertram Priestman, has been presented by Mr. J. Studholme. A very charming picture. The scene is pastoral, idyllic,'and is rich in colouring; There is no forcing or any artifice. The drawing, the perspective, atmosphere and colouring cannot-fail to appeal to an artist. There is, moreover, a human note in the .econe. It is a firstrank picture and deservedly Dopular. "Girl at her Toilet" (No. .50), by.Glyn W. Philpot, R. 0.1.,' another selection by the committee, is an excellent gallery picture, being an example of modelling and careful painting of flesh.tints. In this latter respect it is a picture that will take high rank in the estimate of those who appreciate tho beauty _of those delicate tints which are a distinguishing quality in the works of Reynolds ahd\Roniriey. The committee bd congratulated in their choice. "Quiet Evening, Cpncarneau" (No. SJ), by Terrick Williams, 'RJ'.—This is another of the pictures already noticed. There was a very charming picture by this artist exhibited in 1905 at the Royal Academy entitled "Out in-the West'as the Sun Went Down." Theso themes are this' artist's speciality find now through the kindness and generosity of Mrs. and Miss Joseph the gallery will bo enriched by this excellent example of Terrick Williams's work. "Tho Haymakers" (No. 63), by George Clausen, R.A., is another selection by the committee. Tho title of the picture indicates the subject. This artist is fond of farm soenos and doubtless many arc acquainted with his picture entitled "The Barn Door," exhibited in tho Royal Acadomy in 190 G. The present example is quite in the artist's peculiar style and characteristic mode. "Professor Smith" '(No. 67), by Oswald Birley, R.O;L, is. the gift of the Wellington Savngo Club, and is a clever humorous reminder of the estimable "Mr. Punch" whose spirit is tho eubject of this picture. "Spring in Ayrshire" (No. 63), by George Houston, A.R.S.A., has been rightly purchased for tho National Gallery by the Committee of Selection. The subject is a very fine landscape, and a particularly good example of open-air work and careful observance of important detail. Tho foreground is quite a remarkable piece of work. This picture takes a high place among tho purchases, and will always bo an attraction. There is much in the work that appeals to tho earnest student. "Tho Rose Makers of the East End" (No. 83), by S. Melton Fisher, is the handsome gift by Messrs. Levin and Co. to the National Gallery. The subject, as the title of tho picture states, ie the busy industry of artificial flower manufacture. The scene is tho interior of a work-Toom where a dozen industrious young women of remarkably attractive mien are occupied. The whole tone of the picture is attractive, and this artist lias succeeded in portraying in living form a note of real life in relation to the fashion of the day and its requirements. This is a fine gallery picture, and very popular with visitors to the exhibition. "A Bacchante and Fauns" (No. 96), by T. L. Cloag, R. 0.1., is quito another sMe of picture. The subject has a peculiar attraction, even a fascination,. for artists in every age, whether they work with tho brush or with the mallet and chisel. The grace of form is tho highest aim in figure studies, and next the tint and texture. A work of this kind has its place in a gallery, and the Selection Committee had that fact in view when making their choice. "The Court of Oleanders" (No. 118), by Alfred Withers, LS.T.P., is an attractive piitture. Thero is a home note about it. The artist takes one to the courtyard of the homo, and succeeds in impressing one with the reality of rest and quiet in charming surroundings. This picture is the gift of Mr. and Mrs. Riddiford. "Highland Pastures" (No. ]19), by Henry Moore, R.A., is the generous gift to the National Gallery by Mr. W. C. Buchanan, M.P, This is one of tho late Henry Moore's fine landscape subjects, remarkablo for accuracy of colouring, df tail, and breadth of feeling. Tho work is a great contrast to some more modorn examples of oil paintings, whero tho idea appears to be immediate effect bv rapid execution and the uso of vivid colouring. Here wo see tho warm sunny glow coming across the rough pastoral country, and the artist has studied every part pf his subject—the rocks,- the heath, tho mountain stream—are all livingly presented. Tho foreground in its fine detail kindles desires for, and awakens memories of, tho grouso moor. Henry Moore, the artist, was born in 1831, was elected A.K.A. in 1885, R.A. in 1893, was awarded tho Grand Prix in Paris in 1859, and died in 1895. Landscapes and animals were his special work in 1119 early career, and be painted them with extraordinary fidelity. In 1857, while on a visit to the West of England, he made his first attempt ae a sea painter. His success was immediate, and lie romained a sea painter for tho rest of hie life. The picture presented by Mr. Buchanan ja historical, and a most valuable acquisition. It Trill bo a feature in the gallery. The Water-Colour Section. In the water-colour section tho committee has purchased five examples, and two drawings have been presented to th« gallery. "Washing Day" (No. 3), is by W. Leo Hankoy, nnd is a very interesting study. Thero 'is a modesty about the drawing which is masterly. This is a suitable purchase, and is an instructive piece of work. The figure of the girl at the washtub is well drawn, and the artist ie not abovo careful moulding of the arms, hands, etc. It is a good example. The Boloctorn nr« hapoy in thw choice.

"Tho Abbey Tower" (No. 5), by T. L. Shoosmith, is another drawing selected by tbo committee. A very good example of the Continental colouring and character of tho old Gothic buildings. Theso are the towers of La. Chaiso Dieu, an old abbey founded in lOJli. Tho church was built in tho fourteenth century. The subject is full of interest. "Theßutter Market, Montrenil" (No. 27), by George Thomson, N.E.A., also a purchase by the committee, is a drawing of the site of tho market in the old suburb of Paris. The- crowds of people, the time-stained walls, aro just so many points of delight to tho artist and student "Tho Bird's Gage" (No. 35), by Edward Stott, A.R.A., which has been purchased by tho committee, is not a convincing choice, but has its place, doubtless, in a public gallery whero some response should lx> found to the many tastes. "Near Armidel" (No. -11), by Ernest W. naslelmrst, R.8.A., is the gift of Mr. Noel Barraud. The subject is a cottage and a garden, and the picture is rich in artistic feeling, as in warmth of colour. This artist's stylo is quite free and untrammelled, and is a good example of outdoor studying. "Embarkations" (No. 55), by H. S. Tuke, A.R.A., etc., is not a strong example of this artist's work. It has been selected by tho committee doubtless with the idea, that it is well to have a "Tuke" in the gallery, but this drawing is not as convincing ns tho artist's paintings of the same stylo of picture in oils. "A Grey Morning, the Maas Holland" (No. 75), by F. Spenlove-Spenlove, K. 1., etc., is tho gift of the Wellington Industrial Association. This is a good example of what is understood as the heavier or more intense form of water colour work, with free use- of body, colour. That treatment suits subjects of this kind where tho opaque, neutral, and grey tints play an important part. This drawing is a valuable gift to the water colour gallery. "The Bathers" (No. 134), by Fred. Stratton, is the remaining purchase by tho committee. There does not appear to be any special reason why this drawing has been selected for the gallery. There is nothing attractive about the figures, and, frankly, the drawing is -uncertain. The colouring may be suitable to the poetic fancy of the vision, but it is not instructive as a drawing. This drawing is to be regarded more in the nature of a sketch or memorandum in colour—to be amended or altered as might be necessary.