THE EXHIBITION.

Globe, Volume XXIV, Issue 2527, 15 May 1882, Page 3

THE EXHIBITION.

The attendance on Saturday, both afternoon and evening, was very large. The employe* of the Kaiauoi Woollen Factory had an opportunity of inspecting the Exhibition, the mills being closed for the day in order to enable them to do so. The Austrian Band played a vary nice selection of music during the day, which was listened to with much appreciation by a large audience. Messrs Joubert and Twopony have received from the lithographers, Messrs Sands and McDougaH, of Melbourne, the certificate of merit for the Exhibition, and on Saturday it was on view. Though an hypercritical artist might take exception to the drawing of some of the figures, as a whole the certificate is an exceedingly creditable specimen of lithography. Opposite to the certificate is displayed that granted at Sydney, whilst above is the Melbourne on*, with both of which that intended for the Now Zealand International Exhibition will bear favorable comparison. Tbe two corners of the upper portion of the certificate are occupied by the arms of France and Austria, the arms of all countries forming a circle over the top, the centra of the circle being filled by the arms of England and Australasia. At the foot of the design is an allegorical group representing Christchurch receiving the various nations, who who are depicted by figures wearing the different national dresses. The city of Christchurch is typified by a young female wearing a Homan oivio crown, extending a welcome to the group before her. The Exhibition building appears in the background, the foreground being filled in with New Zealand, palm trees, flax bushes, &3. In the centre of the base is the arms of New Zealand, and below ell, what will no doubt be highly prized by exhibitors as characteristic specimens of caligrapby, are tbe signatures of the promoters, M. Jules Joubert and Mr R. E. N. Twopeny. The bulk of the awards will, it is anticipated, be ready for publication to-day, though several reports of juries have yet to be sent in.

A protest, it is understood, is to be entered by Messrs Laves ana Co., of Dunedin, whose glass embossing exhibits were referred to by us some time back, against the decision of the the jurors, who state that, though the work is good, tbe exhibit has no commercial value. Mr A, T. Edwards, in the British Court, has opened up a new exhibit in the shape of a trophy of sheet iron tin plates, tinned iron, sheets, and soft steel sheets, manufactured by Messrs Hatton, Sons and Co., of the Broadwaters, Kidderminster and Bilston. These exhibits have been arranged in the form of a pyramid, the tin plates being placed outside giving quite sn elegant appearance to what is hardly under the moat favorable circumstances likely to be easily displayed in an attractive form The tin plate* are shown in all dimensions, from the well known but now almost obsolete 14in x lOin up to plates 6ft fay 3ft, an unusually large size attained by very few makers. The tin plates present a remarkably clean and well burnished appearance, being composed of * material as ductile as can possibly be desired. As a test of this a sheet of 14 x 10 was hammered up into a thirty-two fold thickness without the least flaw, the leaves folding over like paper. There was no roughness perceptible on the thirty-two fold crease, which must be admitted as one of the severest tests that the tin plates could be subjected to. Mr Edwards also tested a 14 x 20 plate by folding it sixteen times, tbe edges at the folds being clear and clean. These bent specimens are exhibited at the foot of the trophy, and can be seen by visitors. As illustrating the ductibility of the iron specimens of deep stampings are shown. The iron is used by all the principal tin-plate workers of the old country, amongst others Messrs J. H. Hopkins and Sons of Birmingham, and A, Kenriok and Sons, of West Bromwich, who use nothing but Messrs Hatton’s tinned iron for stamping their patent saucepan lids, which those familiar with the trade well know are made in one piece. Tbe lid, a specimen of which is on view, is a very severe test as applied to any iron, the flange being bulged out beyond the cover and the dip. Messrs Hatton and Sons have been established for a number of years, and their trade has steadily increased, though the cost of their productions is higher than those of the Welsh tin-plate makers. They claim to prod uce nothing but the finest quality of iron. The firm have recently had, owing to the increase of their trade, to erect new rolling mills, which, when complete, will enable them to double their present production. Messrs Hatton and Sons ■were awarded a first special prize at the Svdney Exhibition, and a gold medal at the Melbourne. As there is no pretension whatever in the display, these marks of honor could only have been obtained for the general excellence of the exhibit. The sheet iron exhibited has a very excellent appearance, and so also has the soft steel sheets, a novelty much appreciated by the makers of travelling trunks and other articles requiting great strength. Mr Edwarns, however, is not content to base his claim on tbe mere appearance of the exhibit, but has submitted several of the sheets to Mr Piper, tinsmith, Cashel street, for trial, with instructions to submit them to the severest possible test. The exhibit, though small, ia nevertheless very interesting.

In the French Court M. Hautrive exhibits a very choice collection of oil painting! and water color drawing!. In the centre the bay is a copy of the celebrated picture by Batoni, “ The Repentant Magdalen,” the original of which is in the Dreidon gallery. To prove the faithfulness of the copy, which is by Mazzolini, a photograph of the original in the Dresden gallery is exhibited in the court. The picture ia a very artiitic one, and well worthy careful inspection. Further along the bay ia a very charming picture, by Yidder, *■ Men and Women of Traatavere dancing,” being a very fine picture of rural revels. licit to this is an oil by Jacoby, “Cutting Naughty Pussy’s Nails,” representing a lady cutting the claws of a favorite cat. Next again ia “ Coquetry," by Marshall, which is a very artistic piece of work. On the further side is a landscape, with sheep and shepherdess in the foreground, the rugged hills forming a back ground. This is by Professor Marko. _ The next one ia by J. M. Barber, representing & village maiden engaged in the homely but necessary task of preparing the dinner. Next corr.es a landscape near Norwich, by Old Stark. This painting is a real and very clever example of the style of this eminent painter. Ac the back of the boy are displayed two coast scenes cfl Scarborough by MoAlpme, which are crcrodingly characteristic, the water effects particularly being very fine. At chesido nearest the concert hall are displayed several very good oil paintings. The centre i one is an Italian landscape, with cattle wad-

rirl in the foreground, and foliage in _ the Saokground. This is by Ohevricoi, and is a ▼ery artistically finished painting. On each aide of this picture are two costumo studica, one of a lady and the other of a cavalier. The lady is represented in the picturesque Italian costume, with the square head dross, the cavalier being dressed in that rendered familiar to us by the revival of " Romeo and Juliet,” Sc a., with some idea as to correctness of costume. These aro by Frarchcsche, who has also one of the entrance gates "f the Villa Erg), o«e, Rome. tloidenddd has two charming little bits of winter scenery •one which ia exceedingly good, showing the sunset over a snowy landscape. There i? also a street scone in Rotterdam, and a canal •oene by Valvera. M. Hautrive also exhibits n number of very excellent water colors which arc well wort, a careful inspection. Not alone are the oil paintings, &c., of high quality, but the prices edited to them ere such as should insure their purchase hero by the lovers of art.

Tho Austrian exhibits, as represented by M. Liohtner, comprise porcelain and china goods and glassware from Bohemia, bronze tmd wooden ware from Vienna. _ Springer and Oppenheimer send specimens of Blbogner Poroelanfabrik, the Australian agents for which are Messrs Pfaff, Pionsobof and Co., Melbourne, for whom Mr Liohtner is acting a 1 New Z. aland agent. This exhibit consists ot fancy and household china. The former comprise vases, baskolf, mirror and photograph frames, &\ There is also exhibited a porcelain bouquet of flowers, white roses, made especially for the Exhibition, which is a very unique piece of work, as indeed are all the manufactures of this firm. One of them, a rose-bud ball, io ccmpore.l entirely of rose buds, each one being made by hand. Over 100 separate flewers aro in this ball. In the useful department of china there are some very handsome tea, dinner, and coffee eels, ail band painted. Some beautiful hand painted dessert cervices are also exhibited. Ono dinner service in this department deserves notice from the elaborateness of tho decoration. The manufactory is tho largest on the continent, and employs constantly 4000 Lands. The Soil is renowned through Europe for its production of porcelain. Close to the factory ia also a large coal mine, which reduces the coat of production very considerably. The population in tie portion of Bohemia where tho porcelain is manufactured is exceedingly poor, and the wages consequently being low enables this firm to turn out the beat work at a very low fijuro. After tho Melbourne Exhibition, where they exhibited largely, the firm obtained patterns ot tho English stylo of china, A?., in order to manufacture special lines for the colonies. Messrs Julius Mulbaus and Co., of Haida, Bohemia, have a vary fine collection of Bohemian glassware, consisting of vases and flower elands. Every color is represented in these articles, ami tho enamel work of figures and fl >wcrs is most artistically executed. Besides the more expensive and artistic articles of glassware there ia exhibited a number of tho cheaper kind. Messrs Mulhaus and Co. have a large trade already in Australia. Auton Hahnel, of Laugenau, ■ends a fine collection of flower stands and crystal glass in all kinds. Tho Viennese exhibits comprise a number of articles in olive wood, including ladies’ work boxes, card boxes, and a very ingenious arrangement of photograph frames so combined as to form a aeries of leaves and again in moveable stands. There are also horseshoe mirrors framed in olive wood. In this collection ia also exhibited a quantity of bronze work, hand engraved, enamelled, and decorated with imitation stones. Of this work there are pho. tograph frames, mirrors, &c, Hugo Dahm, of Goblanz, Bohemia, sends a largo collection of jewellery of uniq :e design. Thera ia every description of jewellery. The porcelain jewellery, especially tho flowers, roses, &c,, made as brooches, is exceedingly pretty, as also are the lockets in various materials in color. Mr Liohtner is also representing Messrs Janeoke Bros., and Franz Sohneoman, of Hanover, printing ink manufacturers. Tbe samples ot printing shown are exceedingly good, and the ordinary newspaper ink as exhibited on the sample papers shown is aloe good. The firm have a very large factory, and turn out a great quantity per annum. The greater part of the Australian papers are now printed with tbe inks of the firm.

Mr O. Chaplin has made an addition to his exhibit of bee apparatus and produce in Buy SI of a Unicomb Hive, stocked with living bees. A* sn illustration of bee manipulation, and also to dispel the erroneous notion that the Ligurian bees destroy the British bees, ho has taken Ligurians from one hive, English bees from a second, and a queen from a third, and shows them united ou one piece of comb. The piece of comb shown was part of it transferred from a box to the bar and placed in a hive, where it was fixed to tho bar and completed by the bees. THE ART GALLERY. The collection of pictures shown at the Exhibition is by much the finest that has ever been seen in Christchurch. Mr Fletcher has -succeeded in gathering together a number of works of art of a very choice character, and they afford all lovers of art an opportunity of gratifying their taste to the full. Both oils and water colors are thoroughly represented, and almost every character of work in the modern school is represented. From finished figure scenes to the light and airy sketch of the aquarellist, where a single touch stands duty for a thought, all are to bo found in the Art Gallery. Never hitherto have residents in Christchurch had such an opportunity of studying tho various developments of painting, and the result should be a decided upward tendency in tho art of tho place. We propose first to review the oil paintings, leaving the water colors for future consideration. On entering the gallery aud turning to the right the first picture that claims special consideration is a set piece by W. Melbye, entitled “Early Morning, Abandoning a Wreck.” Tho coloring in this picture is very fine. The first streaks of morning are visible on the horizon, contrasting with the dark water in tho foreground, while in the middle distance the wreck is being deserted by the crew. The next picture demanding notice is “ Preparing for Conquest," by Alex. Johnston. A girl is here shown looking into a glass and arranging flowers in her hair. It is a pleasing work, but the flesh tints are not altogether aatisfaotory. “Off the Track,” by H. J. Johnstone, a Melbourne artist, is a dramatic representation of a man undergoing that most terrible of experiences, the being lost in the bash. His horse has just dropped dead in a dry river bed, and the man himself is making toward a tree where a previous traveller has scored the points of the compass on a blaze. Despair is plainly visible in the man’s whole face and attitude. The coloring of the picture is a little cold, but this is the only fault that can be found. J. Gibb shows a view of the road to Sumner from the Shag Rock corner. This is decidedly the best work we have yet seen of this artist. He has caught the New Zealand coloring vary cleverly. The hills in the middle distance and the distant mountains are extremely faithful to nature, and all the details are worked oat with great oaro and fidelity. The same artist shows a sea piece, entitled “ Off Lyttelton Heads, breeze freshening,” a picture which visitors to our Art Society’s Exhibition will remember. He has also a view of Cashmere, hardly successful in treatment. “A Woodland Scene, Newport, Pembroke,” ‘‘Tarbant on the Clyde,” and the “Yale of Trefern, South Wales,” are by E. Dookrie. The tone of those pictures is exceedingly quiet, but the painting is sound and effective. “ Autumn Evening on the Thames,” by F. M. Trappes, is a charming work. The autumn tints are excellently brought out, the reflection in the calm water being especially noticeable. Anybody who has lived on tho banks of Father Thames daring the fall of the year will recognise the entire truth of this rendering. J, Hamilton is represented by a Shakespearian picture, “ Touchstone and Audrey.” Mr Hoskins has often delighted the Christchurch public by his rendering of Touchstone. We see the jester in Mr Hamilton's picture in somewhat a different guise, but the conception is equally a striking one, and Audrey and the clown are no less satisfactory. Tho woodland perspective of this picture may be specially noted. “ The Young Squire,” by J. Brian, is a genre picture, representing a child who is destined to become the future master. The different textures of the chair, rug, feather, &0., are capitally rendered. “How to Fish,” by Beyle, is one of the most pleasing pictures in tho collection. It is painted with consummate ease and with an absence of all pretension, but not a touch is wasted aud not a point missed. The attitudes of the couple in the boat, oblivious to all surroundings, ond to whom fishing has become a farce, are natural and graceful in tho extreme. This picture has been purchased by a Melbourne gentleman, who is to be congratulated

on his possession of it. Q. Boyle is represented by“Erith on Thames.” This is a sketchy and rather cold picture, but is arranged, os regards light and shade, with peculiar skill. “In Achmore Wood,” J. R. Percy, very cleverly treats a difficult subject. A scene from Moliera’s comedy of « L'Avare,” is tbe subject of a picture by W. Man E-ley. It represents Harpagon, the miser, trying to got the diamond ring back from Marianne, but being prevented by Oleante. This is altogether a masterly production. The figures are effectively grouped, ar.d the coloring is very fine. From oio point of view it may bo slid to be the m- (it am'oi.ions work in tho collection. “Tub Jealous Parrots ”is by Blesingor. Tho technique of this picture is excellent. To the rigUt of tho door, facing tbe entrance, is to he found a picture entitled "Night,’ by Josephine Galamalta. This is a highly imaginative painting, and ia strikingly effective, “ Night ” is represented by tho nude figure of a graceful girl, who holds aloft a dark pill, while tho languid expression of her face, which ia thrown back, and hoc half-closed eyes, proclaim that she is yielding to the drowsy god. At her feet is a Cupid. The coloring of tho picture is as weird as the design. On tho other side of tho western door is to be found the gem of the collection, namely a picture of “Loda and the Swan,” by Jourdrn. This work was brought to Melbourne fur the Exhibition there by M Goupil, and has since beou secured by Mr Fletcher. The drawing aad fl-sh tints aio magnificent, and the b-iuk on which she is sitting is splendidly rendered. Tho study of such a picture is a real privilege to all lovers of art, J.. B. Smith is represented by two nice little studies entitled “Bkolwilh Force” and “On the Dulas, South Wales.” D. Law has a very curious picture called “ Pont y-Pout,” which it would take a very clever man indeed to understand, and another, “ Whitby Scaur,” much more intelligible and satisfactory. Two large works illustrate Mr J, Webb’s talent. They are both sea pieces—one a fine breezy stretch of ocean, with shipping, the other entitled “ Rotterdam—Morning,” showing Dutch craft and the calm water beautifully lit up by the rising sun. Both those pictures are just off the easel, and era admirable productions, lu the latter tbe luminous tints of the water are particularly noticeable. "The Two Rabbits,” bj Dieffeubach, is an amusing little genre picture, in which a girl is holding a rabbit, and both are regaling themselves off a carrot. " Near Bembridgo ” is by H. L. Roff->, and is a well painted evening scene. “ Sirens laving Ulysses,” by De Beaumont, treats not very satisfactorily a subject which Bitty has iliustratid os he only could, “ A Landscape,” by Boddington, is good. J. Adam has two pictures, “ Glen Lyon ” and “ Tho Star and Garter Hotel, Twickenham.” Thorraj Davidson’s “Cupid’s Message” is a pretty little conventional affair. J. A. Fitzgerald is represented by a picture called “ Meditation.” T. F. Oropsey has four singular views of American scenery, entitled "Spring,” “Summer,” “Autumn,” and “Winter.” Of these the most satisfactory is “ Autumn,” showing the gorgeous tints of an American " fall,” the scarlet of the turning sumac being very vivid. For the winter view Niagara is pourtrayed surrounded by an icy coat. It is an ambitious attempt, but hardly successful, although no doubt the singular green of the water and other peculiar tints are quite true to nature. A. Montague i» represented by “Homeward Baund” and "Crab Boats Ashore,” both excellent works, tho choppy sea in the former being very faithful to nature. “ The Entrance to Boulogne Harbor” and “ Ostend Pier,” by T. Weber, are to bo reckoned among the many excellent sea piece* to be found in the gallery. " Wreckers on the Coast of Northumberland” is attributed to Birket Foster, being one of tho few works in oils he ever painted. It is a singular piece, with some men on shore hauling in a mast on which cling a number of sailors. The sea runs mountains high, one wave in particular making email work of a cliff which is apparently of considerable height. Nobody sings more sweetly in water colors than Birket Footer, and it certainly is no calamity that he hns abandoned the more severe medium, ‘•Christmas Presents” is a pretty work by Lobriohon. “ The Promenade” and “ The Pigeons” are two very carefully worked up paintings by Oarand. B. Ansdell is illustrated by a largo work entitled " The Deer Family,” painted in his well known style. “ Ephraim’s Wife ” is a large canvas by Emile Laporte, The subject is taken from the following text: —" Then came the woman ia the dawning of the day and fell down at the door of the man’s house where her lord was until it was light.” It is an exceedingly powerful work, and is well .worthy of careful study. “ The Pisani Palace, Grand Canal, Venice,” is a very clever work by Oampriana. The effect of brilliant sunlight is marvellously managed, and one can see the water shimmering in the intense heat. Ail this is brought about by apparently tho simplest of treatments- It is a true specimen of the ars est celare artem. Tho shadow on the palace is equally successful. Indeed, this is one of the most striking pictures ia the collection. R. Dowling is represented by " Moses Viewing the Promised Land.” This is a well painted picture, but lacks point. There is no visible reason why the figure should be Moses any more than any other Eastern parsonage. The distant landscape has all the singular colouring which Holman Hunt has made familiar to us in the “ Shadow of the Grots ” and other works. " Harvest Time, Surrey,” is attributed to W. Linnell. It has all the delicious coloring of that master. “ Winter in Holland ” is by W. Veater, and is an excellent canvas. Skaters are gliding over tbe ioe, and all the surroundings are bitterly cold. This work would be a delightful one to possess during the dog days for the same reason that makes the Australians take with such avidity to New Zealand sketches, backed up by snowy peaks and glaciers. “Fishing on the Norwegian Coast” is a capital picture by Nordgren. A clever work is that entitled “ The Messenger,” by Rauber. The expressions on the faces of tho boy and his young mistress ore very life-like, while the painting is careful, solid and brilliant. Poirson’s “Pier at Trouville” does not call for particular comment, B. Juliano is represented by a picture entitled “The Adieu.” A Cumberland view by O. Pettit is well painted and effective. Two female Loads by Bruck Lagos are unfortunately skyed, but as far as they can be seen are very effective pieces of coloring. There are a number of other oil paintings which wo have not noticed, several of them of considerable merit, but our space is limited, and wo have endeavored to pick out for review those of the greatest interest. Wo shall dwell on the water-color paintings in a succeeding issue.