LOAN ETCHINGS EXHIBITION

Sun (Auckland), Volume 1, Issue 78, 23 June 1927, Page 8

LOAN ETCHINGS EXHIBITION

CHARLES 11. AND GOSSIPY PEPYS ARE ETCHED BY INGE NI U S HAND OF ROBERT SPENCE. !

OFFICIAL OPENING TO-DAY -pHE seventeenth century, a stirring x and picturesque period in English history, has appealed to the imaginations of many of our modern artists. To Robert Spence, one of the best livi ing English etchers of Genre, this : phase has been an untold treasuretrove. Several excellent examples of his work are included in the Loan Exhibition, which was opened at the Auckland galleries this afternoon by Miss Ellen Melville, chairwoman of | the Library Committee of the City Council. I Here we see the talkative Pepys with his indolent master. Charles 1I„ returning from a naval inspection at Gravesend. The gossipy diarist is deep iu conversation with the befeathered Charles, but probably at the back of his mind is the possibility of an assignation with one of his lights o’ love who were never very far from the Thames. OLIVER’S WARTS The redoubtable Cromwell, too, warts and all, is traced with Mr. Spence's vigorous treatment. “The Bearskin,” a dry-point, is one of the most satisfactory pieces of modern work, to my mind at least, in the whole of the exhibition. The resourceful qualities and grim strength of the late William Strang are shown in the self portrait, and his impression of Austin Dobson. "The Siesta,” a peasant child study, drawn with that intimacy which characterises so much of William Lee Hankey’s work, is probably this etcher’s best example on view. An excellent reproduction of this gentlyreclining figure of a girl appeared in THE SUN yesterday. “TO FISHER FROM AUSTIN” Mr. A. J. C. Fisher, director of the Elam School, has placed several typical examples of Robert Austin at the disposal of the promoters. Notably, a self-portrait (dry point), a landscape, and a gem depicting horses straining at the. plough. All bear the inscription “To Fisher from Austin.” No etcher had a more intimate understanding of the peasant of his own countryside than Edmund Blampied, and the exhibition has been fortunate in securing three really good examples from Mrs. Arthur Waller. Malcolm Osburne, whose work is by no means unknown in New- Zealand, is represented by “Chdrch of the Holy Rood, Stirling,” which, it has been said, shows him at the zenith of his creative power. CURLY-HEADED PICCANNINY Then, there are the two Sopers, Eileen and George. The former’s sensitive drawing could not be better exemplified than In “Bedtime” (the property of Mrs A. Campbell). “Gleaming” and “Binding Faggots,” the examples from George Sopher’s plates, admirably suggest the art of the true etcher—economy of line. Sir David Young Cameron, notable British etcher, whose work possesses a quality entirely its own and a refreshing suggestive richness in tone, is represented by “Amboise” (on loan from Mr. F. Watson). What could be more delightful than the child studies of J. H. Dowd? "The Jolly Dip” is typical of sound drawing and cleverly conveyed action, even if there are better prints from this artist in the show. My own preference is “Piccaninny, ’ a sombre-faced little coloured girl, whose plaited curls are as adamant as so many marks of interrogation. KIPLING’S BELOVED SUSSEX Mortimer Menpes has no fewer than six examples, all dry-points, in the exhibition, and all good ones, t»o. A. K. Lawrence’s “Wounded Tommy,” an etching on loan from Mr. Fisher, should not be missed by students. Two good prints of C. R. W. Nevinson are also included. “Sussex Downs” is one of the most satisfactory dry-points in the exhibition. The broad rolling expanse of the beloved Kipling country is treated with the sure hand of the experienced etcher, and, with an understanding in tune with our Mother Nature. Mr. Alex. Geddes is the fortunate owner. And so, one might ramble on indefinitely. There is so much to see I feel confident that Aucklanders will find —like myself—the three weeks in which the extremely interesting collection will be on view, will be all too short. —ERIC RAMSDEN.