NEW SOUTH WALES ACADEMY OF ARTS EXHIBITION.

Thames Guardian and Mining Record, Volume I, Issue 143, 25 March 1872, Page 3

NEW SOUTH WALES ACADEMY OF ARTS EXHIBITION.

(From the Sydney Morning Herald-)

The exhibition has been a great success. There were 151 pictures—s2 oils, G 8 water-colours, 30 crayons, and other drawings. Victorian artists sent 12 pictures,New Zealand artists 1G pictures, the remainder by residents in New Soutli Wales. In the list of contributions of colonial art sent from New Zealand, we find the names of Hannaford, E. Bartley, V illiam Eastwood, Albyn Martin, S. Warner, N. Iloyte, J. C. Iloyte, Mr Symons, and 1. W. Parnell. The New Zealand landscapes seemed to attract most notice amongst the water-colours from the adjacent colonies, especially the two by N. Chevalier. Mr M. Hannaford, of Auckland, sends (No. 11), The source of the Otira, one of the best pictures in the Exhibition. Some critics, however, have thought tho colouiing a little too fresh, and that the repose of the secluded scene has been rather injudiciously affected by the introduction of snow. The rock in the foreground is the best bit of “ texture ” painting in the Exhibition, and is well worthy of the attention of artists and amateurs. The seclusion and desolation of the scene is admirably depicted in the picture, which at once arrests the well-pleased eye of the visitor.

Many visitors paused when they came to (No. G) Mavora Lake, in New Zealand, by N. Chevalier—a piemre declared by many to be the gem of the whole Exhibition. The same artist is also repiescnted by two other charming landscapes —No. 142 and No. 143. New Zealand scenery seems to possess an indescribable charm for artists and lovers of the true picturesque, for in the Exhibition of Works of Colonial Art there are numerous landscapes taken in that country, before “the counterfeit presentment ” of which visitors and members of the “ Academy” linger for hours, and yet again return. Besides Mr Hannaford s picture wc have two water-colour views by Mr E. Bartley, a New Zealand artist, whose works show how thoroughly he understands the peculiar character and atmospheric incidents of New Zealand scenery, as contra-distinguished from that of Australia. The views thus sent by Mr Bartley are (No. 12) Takapuna Lake, Now Zealand, and (No. 13) Rangitoto, also in that country. These two are for sale, but Hannaford’s Source of the Otira is to be returned to Auckland, without any such option. Mr William Eastwood, a New Zealand artist (connected, it is believed, with the Socie.y of Artists at Auckland), has forwarded two views in oil, which have been much liked (No. 14) View of Fort llritoinart, Auckland, and (No. 15) View of the Manukau Harbour. Mr Albvn Martin, another New Zealand amateur, lias done honour to the exhibition by sending an interesting water-colour-view of the Bay of Islands, catalogued as No. IG. Mr S. Warner, a new Zealand artist, contributes an extremely successful water-colour drawing (No. 17), representing a very lovely scene, distinguished by the almost unpronounceable name of Ngaruawahia, a locality (as it would appear) on the Waikato. Mr N. Iloyte, a New Zealand artist of considerable 'promise, has evinced his sympathy with the lovers of his art in this country by exhibiting (No. 18) Wangarei Heads. His brother, Mr J. C. Iloyte, another artist resident in Auckland, enters the list with an ably executed view of Kennedy’s Bay, in New Zealand (No. lfi). Mr Symons, another talented Auckland artist, has sent up five pictures. One of these (No. 20) is the Harbour of Auckland, in water-colour; and another, a small picture, ill oils (numbered as 21), entitled Crossing the Bar. All the foregoing are originals—except No. 24, which is a good copy. Mr Symons contributes also three other landscapes, the exact localities not being specified in the catalogue. Mr P. W. Parnell sends two original water-colours—No. 25, Puriri Tree, New Zealand ; and No. 2G, The Lovers’Walk, a locality to be found in many colonies, but in this particular supposed to be in Maori-hand. Mr E. W. Cooke, a distinguished Victorian artist, has also favoured us with two New Zealand subjects in water-colours—Lake Wakntipu (No. 4), and (No. 3) The Maori Leap. The cognoscenti have been loud in their encomiums on tlrso two pictures, especially the Lake V akatipu, which was sold yesterday, at the price fixed upon it by Hie artist. It is an original, taken no doubt by Mr E. W. Cooke upon the spot. Mr Charles Turner’s Mount Greatfell (No. 5) appears also to be a view tak n in New Zealand, manifesting a masterly treatment of lake and mountain scenery. N. Chevalier’s exquisite water-colour Mavora Lako (No. G) —also brings before us a piece of enchanting scenery, such as is frequently to be met with in New Zealand, and when found made due note of by this accomplished artist, whose works are now so highly prized in England. Small as this picture is, it is eminently suggestive ; elaborate in its finish, and yet so soft in its tone throughout that the eye rests upon it again and again with an increased delight. From Melbourne also came two other (somewhat larger) New Zealand landscapes, by Chevalier—which are both exquisilively good, but in a brighter and less dreamy style than the gem of Mavora. The following New Zealand artists’ names are found in the prize list :—For the best exhibits in water-colours, by artists : Medal to No. 3, The Maori Leap, by E. W. Cooke; certificate of merit to No. 138, Ilarnham Hill, by Miss M. D. Martin ; honourable mention to No 13, Rangitoto, by E. Bartley. For tho best exhibits in 'oils, by amateurs: Medal to No. 11, Source of Otira, by Ilannaford.