FELTON TRUST

Sun (Auckland), Volume 1, Issue 67, 10 June 1927, Page 12

FELTON TRUST

AUSTRALIAN BEQUEST | ! HAS £25,000 ANNUALLY | TO EXPEND ON ART. j

MELBOURNE OLD MASTERS AN occasional cable acquaints Aucklanders with the information that the Felton Bequest, of Melbourne, has purchased such and such a work for the Victorian Gallery. The other day it was a water-colour by Ambrose MeEvoy which was destined to hang in the immortal company of a Van Eyck, a Corot, or a Lambert. Maybe, the next purchase will be an exquisite inspiration in marble wrought by the master han# of a Rodin. - The London representatives of the Felton Trust are now in the happy position of being able to bid in their tens of thousands for works of art, which will delight—and instruct —the Melburnians of the future. VAN EYCK MADONNA Melbourne is now in the proud position of possessing the greatest bequest for art in the world. Of recent years there has been a decided trend to concentrate upon the more valuable works, such as, for instance, the Van Eyck Madonna, the purchase of which was not accomplished without a certain amount of criticism. Auckland might very well follow the example of Melbourne in evidencing an interest in the works of the great masters of the past. Auckland, as we are well aware, has no Felton Bequest. But good reproductions of old masters might well take the place of certain canvases in the Auckland gallery. They would be of considerable interest to students, and generally would serve a most useful purpose. George Lambert, the famous Australian portrait painter, once told me that he always advised galleries to start in this manner. As a commencement, he said, he \vould advocate nothing else. The gallery would then, he maintained, perform its principal function —as a centre of study for students. I wonder •£ Auckland citizens generally quite realise what excellent work is being performed in their midst. The Elam students, for instance, should be given far greater encouragement than they are at present receiving. The question is often asked: Who was Felton, and what was the bequest? Felton, an Essex lad, landed in Melbourne in the gold rush days, where he founded a druggist’s business. Many years passed. Eventually the wellknown firm of Felton Grimwade was established, which made Alfred Felton one of the richest men in Australia. When he died he left almost half a million of money to art and charity. The whole of Felton’s great fortune—he never married —was devoted to these fields. SWEET CHARITY, TOO Over £200,000 has already been expended among charities. This phase of the Felton Bequest is little known. Another £200,000 was used to form a fund “for the purchase of works of art to be selected by a specially appointed committee.” The Felton Bequest is now famous the wide world over. It has swelled to more than £600,000. Its income is about £25,000 annually. Great pictures by equally great masters have steadily found their way to Melbourne. The Victorian Gallery can now boast examples of the work of Van Eyck, Van Dyck, Turner, Corot. Rodin, Ford Madox Brown, Pissaro, Clausen, Blake, Romney, Raeburn, Orpen, Ramsay, Streeton. Longstaff, and artists of our time. Through the generosity of Alfred Felton keen-eyed American purchasers have been cheated of their avowed prey on more than one occasion. The Felton Bequest’s London representatives bid in thousands, not mere hundreds. Sydney is not so fortunate. It has no Felton Bequest. It has to depend on Government grants and gratefully accepts the crumbs that come its way from the usually depleted Treasury. Notwithstanding, there is one field in which the Sydney gallery can proudly raise its head. Its collection of works by Australian artists is far superior to that in Melbourne. By concentrating

upon this phase of artistic development real service has undoubtedly resulted. SYDNEY'S DESIRE A Sydney writer gave voice to Sydney’s desire the other day when he wrote: “Sydney wants a Felton. Even a bequest on a humbler scale would aid in our gallery’s independence. At present the trustees are waiting for a benevolent will. And meanwhile the gallery is just the Government's poor relation.” Auckland, too, could do with a Felton Trust. While recognising the service that the Mackelvie Bequest has been responsible for in the past, it would be interesting to know the future plans of the trustees. Of recent years the Mackelvie Trust has made no important purchases for the Auckland Gallery. It may be possible that the trustees are nursing their resources with the intention of making additions of far greater monetary and artistic value than they have previously done, or been financially able to do. Should they do this they will be following on the admirable lines laid down by the Melbourne bequest, which has shown good judgment inasmuch as the size of a canvas has not wholly guided them in coming to a decision.* —ERIC RAMSBEN.