BLACK & WHITE ART.

Dominion, Volume 7, Issue 1886, 22 October 1913, Page 5

BLACK & WHITE ART.

an' interesting exhibition. ]Bi "The Lay Figure."] I should like to draw tho attention of all local lovers of art to tho peculiarly interesting exhibition now being held —free to all-comers—at Messrs. W. 11. TuinbuU's little gallery in Panama Street. There are many interesting oils and water-colours, but tho special feature of tho show is the wealth of raro, curious, and often exquisitely beautiful drawings—in ink, pencil, and wash —by tho Old Masters, by .Royal Academicians, and others, and tho even yet more notable and interesting collection of original etchings, the examples shown covering tho whole history of one of tho most individual and jiistly-cstceined' forms of tho paintergraver's art. . Of the 291 oxhibits, over 170 are original drawings and etchings. Amongst tho former, the Italian, Dutch, Flemish, and French schools aro represented. These are original drawings, some in pencil, others in wash, by Poussin, Caracci (note the superb study in sanguine by the latter), and Victorian o.nd twentieth-century British work, as represented by specimens of the art of George Cruikshanks, "Phiz," Fred. Barnard—all threo' famous Dickens illustrators—down to that of some "Punch" artists of the present day. It is, however, the etchings which specially appeal to mo, and here I hazard the opinion that New Zealand has novel - seen a more representative collection. For tho Rembrandts alono the gallery is well worth a visit. Largo and small—for the plates include tiny single figures, as well as the noble "Crucifixion," and "The Death of the Virgin" (Hamerton's favourite amongst Rembrandts) —each and every examplo of the great Dutchman's art compels admiration. Some noble Albrect Durers, and some delicate Claude Lorraines should be inspected, and a group of tho much-sought-after George Morelands, so strong in their drawing, and yet showing such a wise economy of line, will attract the eye of many a visitor. Hogarth, too, is here, being represented by the grimly powerful "Gin Lane" and "Beer Street," pictorial temperance lessons of a century and more ago I Coming now to modern British etchers, there is ail exceptionally fine show of Seymour Haden's work. _. Haden, who was Whistler's brbther-ih-latf, undoubtedly did \ mtich to develop Whistler's natural penchant. for the etching needle. Haden is here represented by ten platos, all either first or second states, all reflecting the artist's delicate, spontaneous, truly "autographic" art. ' "The Brig at Anchor" (206) is a specially charming example. A good, really characteristic Seymour Haden is a sure investment, for etchers may come a\id etchers go, but Haden's work still steadily rises in value. Amongst the moderns, too, are Brangwyn the Great, and the now immensely fashionable D. Y. Cameron. Brangwyn is represented by a truly superb plate, tho famous "Church of St. Nicholas, Dexmunden" (194), a much finer plate, by the way, than any of the Brangwyns exhibited at tho Baillie show. The brilliant light and shadow effects of this splendid achievement give the plate an exceptionally rich decorative effect. But on . a wail a Brangwyn should hang alone. Its proud supremacy, alike in design and execution, simply exacts solitude. Close to the Brangwyn is a fine etching in colour —tlio exact process would take too long to explain—by D. Y. Cameron, "Dark Angers" (197). There is aj grave dignity about this plate which simply compels admiration, lloth this and tho Brangwyn would be possessions of permanent and ever-increasing delight to an owner of taste. Two small Camerons, "Arran" (195), a seascape which lids all the buoyancy of a Henry Moore water-colour, and "Amboise" (196), a fine architectural study from the Touraine, are also worthy of notice. Someone, I think it was Frederick AVcdmoro, has said of Alphonse Legros that ho was tlie Dante of etchers. His speciality is tho portrayal of deep human emotions; his portraits fairly exude character. Note, too, not far away from the Legros plates, an "Arab's Head" C 218), by Sir Hubert Herkomor, a brilliant example (in first state and immaculate condition) of a "sand-etching," a difficult and rare form of the art. Strang and Steinlcn, the first a much esteemed British etcher, the secondSwiss by birth, Parisian by choice, and the most versatilo of artists—are also represented. Strang's work is vigorous, clean, and full of temperament. As a "nonular" subiect his sceno from "Don Quixote" (236), one of the famous Cervantes Set, is decidedly alluring to the collector. Stcinlen's work, as usual, reflects the poetry—and pathos—of labour. His "Rcturnine from tlie Mine," a soft ground etching, has all the virile personal touch of an original chalk drawing. Whistler—he should have had earlier notice—is represented by a dainty "hit" from his beloved Chelsea (225) and a strongly-drawn "Punt" (224), both characteristic specimens of his earlier manner, and both signed by 'the allimportant and valuable "RuttorSy" mark. A purely lattor-day etcher, Lawrence Walker, whose style is moro akin to that of Whistlor than the robustrou's Brangwyn, sends some-work which specially enlists mv admiration. "Whitstable Beach" (227) is full of flexibility, of individuality, and has a peculiarly fine atmospheric effect. Axel Haig, R.E., has a fine landscape (284) and a vigorously-drawn "German Mill" (269); the veteran Hole sends some of tlie fine figure work in which ho excels. Mortimer Menpes (Whistler's friend, pupil, and biographer), Stephen Parristh, the American etcher, W. L. Wvlie (a marine study, of course), and David Law, and Fred Slocombe, all etchers with a big London remitation, are represented, and special notice should bo made of some forceful and dignified work by Hugh Paton. Trulv, amongst tlie moderns as well as in the Old Masters' section, is there a veritable embarras de richesses, So varied, so uniformly good, and so interesting an exhibition of black and white art in its most delicate, most delightful form, we ftave never had in Wellington. I trust that many of these beautiful works may remain amongst us. ' Whether as intending buyers or not, visitors are, I am informed, made most welcome to the gallery. The sale takes placo on Thursday afternoon.