The Sydney Morning Herald, Mon 7 Feb 1927 1
Monday, February 7.
The following appeals against the magistrate’s orders and convictions will be heard in No. 3 District Court, Queen’s-square, at 10 am:—Eileen Elliott, goods in custody; John O’Neill, vagrancy; William Jugg, offensive behaviour; William Adams, vagrancy; George Magnus Anderson, vagrancy; David Lockhart Whetton, stealing; Maud Anderson, stealing; George Ernest Sadd, adjudication of Licensing Court, refusing application for transfer of publican’s license at Bredbo.
LOAN FOR PARRAMATTA.
The Parramatta Council has received the approval of the Governor to its proposal to borrow £30,000 for the construction of roads in tar metal, and for the resumption of property in Darcy-street. The loan is for 13 years, at 5¾ per cent, interest.
FRENCH SAILORS’ PICNIC.
About 35 sailors from the French sloop Cassiopee were entertained at a picnic by the members of the Union Français. They were taken in motor cars to Bulli Pass. Occasion was taken during the day to present the six sailors who manned the boat successfully in a rowing event on Anniversary Day with a prize of £6.
EXHIBITION AT SWAIN’S.
There are 160 examples in all in an exhibition of etchings which has been placed on view at Swain’s Galleries, 123 Pitt-street—a varied collection comprising works by both English and Australian artists. The majority of these works have been exhibited before at various shows in the city; but there is a proportion of new material amongst them.
On the English side, Frank Brangwyn, W Lee Hankey, Alphenge Brewer, and CRW Nevinson are the chief artists. The first-named has a number of characteristic etchings depicting in a broad, free style the exteriors of ancient building and archways. “A Tannery, Parthenay,” is amongst the most interesting of them. The human figures have been sketched in rather than carefully drawn; but with such mastery over anatomical form that the few strokes convey all that is needed. Another Brangmyn [sic] etching, “Gateway at Avila,” shows this artist’s partiality for contrasting shadow with vivid high light.
Chief among the Brewer etchings is “Milan,” a study of the intricate facade of the cathedral. A broad band of light rests across the building to about half its height, while the rows of filigreed pinnacles are wrapped in soft shadow, the total effect is toned down only by the ecclesiastical nature of the subject. “Rheims” is another beautiful cathedral study, this time showing the interior; the great rose window seen from the nave. The ascending Gothic lines of the masonry make a telling contrast with the delicate tracery of the panes in the window, so finely and naturally drawn that one almost expects to see the colours dawn as one gazes. The treatment of sombre, filtering light is particularly skilful.
Nevinson is represented by “Waterloo Bridge, from a Savoy Window,” a bold composition in which the continued arches sweep diagonally across the paper, to be doubled back at one end by the near embankment, with its row of leafless trees, and at the other by a distant strip of houses and smoking chimneys. An interesting little etching by Robert E Spence, entitled “Rembrandt’s Sale,” leans fittingly to the woodcut style in its depiction of folk in the high-crowned, wide-brimmed hats of the period, gathered in a dingy auction-room. Among the mezzo-tints of Percival Gaskell may be mentioned “Stormy Weather.” It shares the photographic quality of most of this artist’s work; but there is depth and wonderful softness of texture in the clouds that send down their showers across the lake.
Norman Lindsay and Sid Long have contributed the bulk of the Australian works. Among those by the former, “Virginity,” “Who Comes?” and “Hyperborea” may be quoted, and by the latter “Badnage Landscape” and “Pastoral Softground.”
1 The Sydney Morning Herald, Mon 7 Feb 1927, p. 5. Emphasis added.