ART EXHIBITION

Dominion, Volume 37, Issue 16, 14 October 1943, Page 3

ART EXHIBITION

More Than £BOO Worth Of Paintings Sold

Wartime conditions are favourable tor the artistic market. There are so few things imported from, other countries that are procurable in New Zealand alter four years of war that there is money for expenditure on works of art. The annual exhibition of the New Zealand Academy of Fine Arts affords New Zealand artists the opportunity to display their tnlcut, and invariably, if merit is displayed, the public shows a ready response. At the opening of the show on Friday last, the Governor-General said that he hoped none of the paintings would De left, unsold. Such an ambitious record has never yet been achieved in this country. There arc indications, however, that as the result of this exhibition, few- good paintings will remain unsold. Already with only four days gone artirts are assured of receiving some £SOO for their work, for up till yesterday the amount so assured (including the value of those paintings which have been or will be secured by way of art union prizes), amounts to LSGI, a ti,"Y figure for a small show during the fitth year of war. ■ The latest sales to be recorded are as follows :—“lrish Fisherwomen on (>uay (Elsie Monnint), “Still Life’ (John AVeeks). “Chrysanthemums' ( n . b. Wauehopl, “Avalanche Peak, Ariliurs Pass” (Grace Buller). “Morning, Wellington Harbour” (Marcus King) : Late Autumn. Otaki,” anil “Playmates 'p ll , l ' lev Richardson), “Study ol a .Girls Head” (Alison Pick mere). ‘Waitangi, Bay of Islands” (W. Basil Honour), “Spring li'lowers” (Jean Mclvay), “Spring Flowers” (Mabel Hill). “Ebbing Tide, Coromandel” (Gwynneth liichardsou). “Corner of AVellington Harbour” (Colin V. AVheeler). "Maori Girls Head.” drawing (F. G. L. de Manny), "Low Tide,” lino cut (S. B. McLennan). Work Reviewed. In the first notice it was not possible to cover the whole of the paintings in the present exhibition. Brief reference to those not mentioned previously is due to the artists and the Academy. A group of deserving oils that are almost hidden in the unsatisfactory light of one of the norlherii bays include two notably artistic efforts. One is “Portrait of (lie Artist’s Daughter,'’ by Vivian Smith, Christchurch. This is an exquisite head and shoulders of a pretty st raight-fea tun'd girl, delineated with marked purity ol outline and modelling, against a wholly blue background. 1 he. toning is delicate to a degree. The. other is “Spring,” by Marcus Ring, a still life, study, possibly the best, thing lie inis done ill that sphere. II: is simply a dark-col-oured bowl, bearing a sprig of pmk blossoms. set on a polished mahogany tabletop. ' Some technical dexterity was required to attain (lie depth in the glow that, conies from this little painting. Neai'by is “Autumn,” toy Mabel Hill, a gorgeous profusion of tawny chrysanthemum blossoms, with n just-picked freshness to give them radiance. This is a rather precious flower study of marked beauty. Basil Honour continues to improve". His “Clouds Over AVanaka” and “Waitangi” are delightful scenic studies, in which balance and feeling are deftly expressed. Betty Rhind’s portrait (water colour) of Beverley Shore is charming in its simplicity of pose and delicacy in expression. The oil of St. Andrews Church, by M. Trezise. is faithful work expended on an interesting architectural Study, while AV. A. Sutton's painting of Leonard Sutton (almost life size) shows the versatility and abounding promise of tliis young artist (whom the Academy lias recommended to the Government as a possible official war artist). Among the many nttraetive flower studies "are "Spring Flowers.” by Jean MeKav; “Cyclamens,” by Gwen Nelson; “AVallflowers” and “'Nasturtiums,’ by Thane Field ; a nice “Flowerpiece by Maude Haines; “Spring Flowers, Mabel Hill; and “Irises,” by C. B. Youmans.