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Download (6.6 MB) - Christchurch Art Gallery Te Puna O Waiwhetu

CDANo. fifty-one September/October 1973The Journal of the Canterbury Society of Arts66 Gloucester Street Telephone 67-261P.O. Box 772 ChristchurchRagistarad at tha Pott Offfc* Kaadquartars. Wellington at a magazina.President:Secretary-manager:Exhibitions Officer:Receptionist-Editor of NewsMiles WarrenRussell LaidlawTony GeddesJoanna MowatStuart McMillan


New membersWe welcome to the C.S.A.Mrs Hilary RuscoeMr & Mrs Michael ThomasMr James A. SlaterMrs N. AbbottMrs D. M. McClellandMr & Mrs B. C. GatehouseMrs D. R. SmithMiss Malvina OveryMrs Ann WillisMrs R. S. BlackProf. Roy P. KerrMrs Beryl MathiasMr & Mrs William NicholMrs Betty WoodMr & Mrs Michael AbrahamsonMr & Mrs Douglas ArthurMr J. Howard BoothMr & Mrs Richard HarmanMiss Eileen KernahanMr & Mrs T. H. RutherfordMrs Gillian ScogginsMrs Judith A. StarkMr D. J. ThornleyMrs Joan WillMrs Gussie FentonMr Richard DearMrs Myree FogelbergMiss C. McCormickMr & Mrs Guy JansenMr S. L BenningtonMr B. S. CookeMrs Linda ArthurThe cover was designed by A.P. Geddes, with apologies toPieter Brueghel, the elder.Happeningsin the GalleryVariety is the spice of life, they say and some recentexhibitions have proved just that. Furniture was theorder of the day when a June exhibition contained someselected, modern, imported furniture from Christchurchhomes. Hardly any need to say how successful this was asthe exhibition enticed more people into the Gallery than wehave seen for some time. So our appreciation goes toall exhibitors who may have spent any time dining offapple boxes.A retrospective exhibition by Mr W. S. Baverstock,past Director of the McDougall Art Gallery, must havebrought back some memorable moments for Christchurchcitizens. Mr Baverstock is indeed a very modest man and ifit hadn't been for a suggestion from Mr Laidlaw we wouldn'thave had the opportunity to admire the skills of MrBaverstock's pen.Our Graphic & Craft exhibition has been plagued bydisasters for the second year. Last year invitations didn'tarrive on time, this year they did but in a printing errorthe dates were mixed, so don't be disheartened Graphic& Craft fans, it can't happen again although next yearwe would like much more support from our exhibitors,especially our talented potters.MALING & CO.86 GLOUCESTER STREETWINE MERCHANTS62-779HERBERTSOF CASHEL STREETFamous for footwear in CanterburyTHE AUSTRALIANPOTTERY BOOKEven a person who lias never touched a piece of claywill find himself itching to try his hand at the wheel afterreading this book. A pottery book we commend.P r i c e $ 4 9 5Whitcombe & Tombs Ltd.CHRISTCHURCHH. FISHER & SONFine Art DealersFor Better Class—Pictures, Framing, PaintingsExpert Picture Restorers691 COLOMBO STREET (near Square)40-161 PHONE — 40-161ssoSMITH & SMITH LTD.Metal EnamellingChina PaintingPottery Requisite*Winsor & Newton Art MaterialsPhone 64-649213 Tuam StreetTHUS!ratnoNDHAs yourTRUSTEE AND EXECUTORappointPYNE GOULD GUINNESS LTDYour Local Firm


For those who appreciate the uninhibited emotions ofothers in "natural habitat", some brilliant photographyby Ans Westra was the best photographic exhibition wehave seen for some time. A far cry from Ans Westra's ownwords.. "I've had all sorts of jobs, even painting thegold lines on cups they sell in Wool worths."In July, a lively opening and exhibition by ChrisGrosz & Rex Valentine. Rex's bold and sturdy pots soldsteadily and at the same time Rex took up residence withhis wheel even though industry did cease for a few dayswhile he dashed up north for a sailing adventure back toChristchurch.Lunchtime concerts held about every two weeks are wellattended and due to force of circumstances the last concertwas held in the North Gallery which proved to be a muchmore intimate atmosphere and I think most people wouldagree, without so many acoustic problems. Concerts in theGallery are a result of time and effort put in by JocelynAllison in arranging these programmes and our musicalcalendar is now booked through to December.After our previous pleas for a piano, Julian Haseldenhas come to our rescue and our new aquisition will beinstalled in the Gallery shortly for an indefiniteperiod.Recent purchases for the C.S.A. Permanent Collectionare, "Surprise Lunchbox" (pencil & photo montage) byMax McLellan bought from the exhibition of AucklandPainting, "Relief" by Don Peebles, Untitled painting byJeffrey Harris, and "Ben Nevis from Glencoe" (earlypainting) by Duncan Darroch.Joanna MowatLUNCH-TIME RECITALS1.10to 2 p.m.19th September10th October17th October24th OctoberOBITUARYIt is with sad regret that we note the death through illnessof one of our youngest members Philip O'Regan, aged 18.Philip became a working member of the Society last yearand has exhibited and sold work in Society exhibitionssince then. His one-man show will open on Monday 17thSeptember.Philip began his art training in 1968 and since then hasworked avidly toward his own exhibition which he did soup until the time of his death. Philip's ambition was toshare his creative feelings and ideas with fellow Societymembers through the work which will be seen in thisexhibition.BASHIR BARAKIOTHER CENTRES:Waimate Art Group. Closing 13th September.Te Awamutu FestivalA.N.Z. Bank Print Competition. Closing 24th September.WALTER FOSTER ART BOOKSA large selection always in stockNumerous subjects to choose fromPRICE 85cFor Good BooksSIMPSON & WILLIAMS LTD.238 High Street, ChristchurchTorversatile ventilation& hard to beatheating consultColt Ventilation &Heating(NZ)Lid.^toweanRd,9eWonm543or5oi97a member of the Mair Group of CompaniesSome things can't be bought for love or money, butcan create your own fashion for very little money.With love, and a terrific selection of exciting fabrics, from668 Colombo Street Dial 66-161.BALLINS INDUSTRIES LTD.Wine and Spirit MerchantsAerated Water and CordialsA taste is not enough.Be wise, buy economyfamily size soft drink.9 Byron Street Phone 62-099youProperty Owners!WhAUCTIONEERS A REAL ESTATE AGENTS133 WORCESTER ST., CM CM.""NOTBTIGTTTON-^JUST PHOTTT&Wluxurious waIt's cheaper than you think withoil-fired central heating.Shell specialists will be glad toadvise you on correct types ofheating systems to suit yourneeds and pocket.Heating Semioc


The exhibitionsW. A. SUTTON - PAINTINGOctober 7-21Born Christchurch. Studied at Christchurch Boy'sHigh School and Canterbury College School of Fine Arts;Diploma 1937; later at the Anglo - French Art Centre, StJohn Wood London.At present Senior lecturer and tutor in painting at theUniversity of Canterbury School of Fine Arts; member ofthe Visual Arts Advisory Panel Queen Elizabeth 11 ArtsCouncil of N.Z; Member of the Board of Trustees, NationalGallery, Museum and War Memorial; sometime VicePresident of the C.S.A.; member of The Group.Half a dozen one-man shows in New Zealand since 1947,and taken part in several travelling exhibitions ofcontemporary painting organised by the Auckland City ArtGallery. Represented in travelling exhibitions of N.Z.painting to London, Moscow and the Pacific, Expo 70,Tokyo.Represented in Art Galleries and private collectionsthroughout N.Z. Retrospective exhibition of paintings atpresent touring the country. Many portrait commissions.Mainly interested in the unique and the sky forms inCanterbury and working out a synthesis of structure andpattern based upon them. Paints entirely in oils and despisesacrylics.ROWNEYTop QualityArtists MaterialsOil Colours, Water Colours, Acrylic Colours. Brushes,Palettes — Everything for the ArtistMANUFACTURERS OF ARTISTS MATERIALSSINCE 1789WINDSOR GALLERY LTD.(FORMERLY SMITH & HODGSON)OUR NEW GALLERY IS THE MOST SPACIOUSIN CHRISTCHURCHQUALITY PICTURES ARTISTIC FRAMING153 HIGH STREET (OPP. DRAGES)PHONE 60-724ROY & JULIET COWANOctober 6-21ROY COWANBorn Wellington. Trained as teacher and artspecialist. Worked in teaching and related occupations.Became a full-time artist and craftsman in 1959. Has receivedawards from Association of N.Z. Art Societies and Q.E.11Arts Council for study abroad and research in N.Z.Mediums include painting, printmaking, pottery & ceramics,and sculpture. Currently engaged in commissioned works forbuildings.JULIET COWAN (PETER)Born in Canterbury, to a pioneer farming background.Attended Canterbury University School of Art (Diplomain painting 1940). Became staff illustrator to SchoolPublications in Wellington until able to finance trip toLondon in 1951 for study at the Central School.Introduction to lithography.Back in N.Z. in 1952, married Roy Cowan and returnedwith him to London in 1953 for a two year period. Studiedpottery part-time at the L.C.C. School at Hammersmith.Upon a reluctant return to N.Z. settled in Wellingtonwith lithographic equipment and a small electric kiln. Thepottery movement was only in its beginnings at that time,so we developed with it.SpecialiseSkin d3otin i/J>outiqueDownstairsin244 High StreetLeather and Suede FabricsWill make to measureNavajoARTS ANDCRAFTS91 D RICCARTON RDPH 41685ERY-WOODWARE-JEWELLERYSCREEN PRINTINGPenetope RyderThe demands made by potting and print-making upon timeand energy, plus domestic survival, leave little time forthat hardest-of-all commitment — painting! Thus I paint atirregular intervals, on chosen themes of personal interestonly. It is inevitable that any exhibition will reflectmany different interests, and a range of mediums.PHILIP O'REGAN - PAINTINGSSeptember 17 - 30Born in Hawera in '54. From the time I could hold acrayon I enjoyed drawing. Through school years the interestgrew into a longing to paint. During my secondary educationat Xavier College, I was fortunate to have Mr BashirBaraki as my Art teacher. He encouraged me, and the artperiods at Xavier together with private tuition from MrBaraki form the tutoring period; this gave me confidence,and in the past two years I have enjoyed doing what Imost want to do. I have no message to give, my work is theproduct of my own imagination, and desire to see it incolour and form. I observe the pattern of nature, earth,sky, growth — and try to portray these — the unexpectedcolour and form in nature.Sanitizeo7/fadonjP E R S O N A LDRY CLEANINGART MATERIALSART MATERIALSART MATERIALSART MATERIALSART MATERIALSART MATERIALSART MATERIALSART MATERIALSART MATERIALSART MATERIALSREDFERNS LTD 90 Manchester St. Phone 60-468


EDGAR MANSFIELD -Sculpture and Photographs JOHN FOSTER - Printsof Bookbindings. September 2 — 16RONALD JOSEPH LEFT - PAINTINGOctober 23 - Nov 5Born in London 1907. Settled in Hastings 1911 (andNapier 1965). Entered teaching 1924. First specific arttraining under Roland Hopkins Napier 1924-25. DunedinTraining College 1926-7 and third year for Art 1928 underW. H. Allen and R. N. Field. Work changed from naturalisticto abstract in 1929-30. Art and crafts teacher FeildingHigh School 1929-33.(Subjects included kick wheel pottery (4 wheels, gaskiln), abstract art and design, and musical appreciation).Went to London in 1934 to study design and crafts(Central and Camberwell Schools of Art and ReimannSchool of Design).British Forces 1941-46. Returned to Hastings for oneyear then went back to London to teach bookbinding andtypographic design and colour theory and practise totrade students at the London College of printing, andcontinue to create bookbindings (and paintings) and beginexperiments in "animism" sculpture (returning home "onleave" for several months every four years).Retired early (1964) to concentrate on creative work,and spend half of each year at home. Remained here sinceDecember, 1969, for domestic reasons. Will resume annualtrips to London in 1973 to arrange exhibitions etc.NEW ART & CRAFT SERIESIntroducing FINGER PAINTING - Guy ScottIntroducing ABSTRACT PAINTING - Robin CaponIntroducing WATERCOLOUR PAINTING - Michael PopeThis new series of Batsford publications is designed to helpbeginners and teachers. From $4.35.See them atWhitcou s111 Cashel Street CHRISTCHURCHCANTERBURY SAVINGS BANKEARN INTEREST ON YOUR MONEY, UP TO H% THROUGH SAVINGS,THRIFT CLUB, HOME LAY-BY, BUDGET AND INVESTMENT ACCOUNTS.ENJOY PERSONAL FRIENDLY SERVICE THROUGH THE i DIVISIONS-CANTERBURY — MARLBOROUGH — NELSONTHE BANK THAT LIVES HEREAwarded Queen Elizabeth 11 Arts Council Grant 1972."THE COFFE CUP"An encourter between two people.I watched, drew later printedThis was my experience.JOHN OAKLEY - PaintingsSeptember 30 - October 13I have never been a prolific painter, workingmainly in fits and starts. This is the fifth one-manshow I have had, the last one being in Christchurch in 1957.I saw so much wonderful painting during my last visitoverseas in 1959 that I felt depressed about my ownefforts, and it is only recently that I have started paintingagain.I have strong feelings for New Zealand and for Canterburyin particular. In that I am unashamedly parochial.Inspiration for my work comes directly from naturebut my paintings never turn out the way I hope and wantthem to. Each one is a new experience and turns outdifferently.Painting for me seems to get more difficult as timegoes on, but probably other painters feel that too.Hand Woven Cushions, Rugs, Table Mats,Shoulder Bags.dMierp internationalScreen Printed GarmentsAntique Furniture800 Colombo Street (Near Town Hall)Christchurch New Zealand Phone 40-229Exclusive New Zealand MadeandImported Handcrafts142 Gloucester St, Christchurch(opposite Gloucester Arcade)tel 67-668 after hours 843-063Book our 800 sq. ft. Gallery nowfor your next Exhibition.Studied at Elam School of Fine Art, Auckland.Graduated with Bachelor of Fine Arts in 1971.His October exhibition comprises mainly paintingscompleted this year and some painted in Southland in 1972."For me a painting must become a complete world initself. To impose order, through painting, on the world asI see it, is not my concern. Painting is a search for thedeep order in nature. The logic of a painting is allied tothat order in nature, of which man is an integral part.The logic of the paint is a metaphor of the logic of the organic,chemical world."timeOffLook for it every fortnight— the new magazineabout what's doing inChristchurch — art,theatre, music, cinema,dining out, sport,environment, politics,astrology, gossip ....STAIRWAY ARTS88 Burnett StreetKATH VON TUNZELMANNOpposite Somerset HotelASHBURTON PHONE 6733Painting Pottery Weaving Screen-Printing BasketwareGlass China Wood Copper Handwork Silver


PATRIC HANLY - PAINTINGSOctober 19-31An Interview.Question: You were primarily concerned with becominga painter rather than acquiring an academic qualification.Why was this?Answer: Trying to become a painter and all thatgoes with being one, seemed to me at the time of being astudent, of more importance ultimately than acquiring anacademic qualification which does provide an easier ormore regular way of living. One could be trapped inthe teaching or whatever the qualification allowed andthis would not give one the time for the totalcommitment to painting that is essential if one is to dothe thing properly.Question: You had a preference for the masters of theearly Italian Renaissance — why did you feel this way?Answer: I did not have a preference for earlyItalian Renaissance painting alone, but did become veryinterested in them while in Italy. I loved their exquisitesimplicity of style, which seemed wholesome anddevastatingly honest.Question: Your studio hours - in what surroundings doyou work and when?Answer: I work irregular hours, about four hours a dayin a 16' x 18' studio shed in my back garden which is verygreen and lush. The studio is not a mess but there isusually lots of work around, most of which gets destroyed.Hopefully the best pieces are left.Question: Do you do anything other than painting?Answer: I have taken freehand drawing and perceptionstudies for eight years at the University of AucklandFaculty of Architecture, nine hours a week, after which Igo home and work.Question: Do you have any other special interests?Answer: I am a big kite fan and build large andsmall kites which have decorative attachments, banners,bells etc. I enjoy this because it involves lots of otherpeople, like the Auckland Festival Kite Fly last yearwhich (1972), had fifteen thousand people!Question: What is your philosophy of painting — formoney, to express ideas, communicate with people?Answer: To communicate with people - communicatewhat? Well, after twenty years of ideas and directions, Iwould say ultimately to communicate love — and that's it.Question: Why are you a painter - vhat started you off?Answer: Possibly that I intuitivel- felt that therewas something more to life that football, cycling, boxingand girls, which is how everybody feels at sixteen plus, andI'd always been drawing, it was the only thing I wasgood at anyway, so maybe I had no option.Question: Would you consider it a wise thing if theState were to help with finance, etc?Answer: It would be very helpful for genuine artistsof every kind if there was an assitance wage that could bepaid when things are financially tough, but I don't thinkanyone should be spoon fed.Question: How does your painting relate to New Zealand— landscape, people?Answer: I don't know how it relates or if it doesat all. Critics and historians tend to make these assertionsand want to localise or nationalise art and artists — butart is an international communication and can touch anyone,anywhere.shirwininternationaladvertisinglimited The action agency.72 Riccarton Road. Christchurch 4. N.Z.P.O. Box 8116 Riccarton. Telephone 47-009.Aucklend Branch: 300 Parnell Rd. 1Phone 378-407. 374-974P.O. Box 37005 ParnellADVERTISING RESEARCH MERCHANDISING COUNSELPABLEELECTRICCONTRACTORSLTDHONE 68-1704 Longhurst Tee., Cashmere P.O. Box 1442After Hours 33-931Industrial Commercial DomesticInstallation and RepairsPARK YOUR CARAND FORGET IT — ATAMUR. MOTORSCAR PARK• UNDER COVER • PEDESTRIAN LIFT • 10c HOURCNR.DURHAM a ARMAGH STREETSWHITMORE'SARTID O M OFOR T H E N E W L O O KIN M O D E R N FURNITURE624 COLOMBO STREET. 50-327.where nice things happenWto shopping people...haywrightsCITY, SYDENHAM, RICCARTON, NORTHLANDSConsult THE EXPERTS,for ALL TRAVEL overseas& within New Zealand.AGENTS FOR:-International Airlines, Shipping Lines,Tour Operators, Hotels, etc.open every Friday to 6 p.m. (TfHS\ /\ f ft- l"Vcnr. Cashel & Liverpool Streets. V ^ ^ T ^Ph. 62-079 TRAVEL


Question: Being Christchurch inhabitants we.are naturallyvery pround of our new Town .Hall. You contributed to thismagnificent building — in what way?Answer: The town hall is a very tremendous piece ofdesign and is a world class building, I was very honoured tohave been asked to work on it. My brief to design andexecute the mural from the Architects was for a work whichwas festive and gay, and as the buildings' main function isentertainment, the mural had to enhance this general theme,hence the mural of Rainbow Pieces, the spectrum no less -its simply supposed to be formally festive and it wasgreat to do.Jane FramptonPottery notesThe Annual Exhibition of the N.Z. Society of Potterswill take place in October in Dunedin and most Potters willbe busy putting aside their best pots for selection.The Ashburton Society of Arts had an Exhibition earlyin July. Hazel McCaughern was their guest potter and her68 pots were much admired and appreciated. Invercargill,Oamaru, Timaru, Ashburton and Nelson were wellrepresented. Gipsy and Eddie Poulsten submitted somesculptured pieces and there were other pieces of sculpturedforms in Oamaru stone, steel and fibre-glass.The Rangiora Pottery Group held its first Exhibitionthis month in the "Capricorn". This Group was formed as aresult of the intense interest aroused by an AdultEducation survey. The main problem was finding suitablepremises to house the Group and its activities. A 100 yearold two-storeyed farm cottage was kindly lent by a localfarmer and now houses workrooms and a drip-fed oil kiln.Apart from limited professional tuition members are allbasically self-taught. Emphasis has been placed on learningand practising the complete craft from digging clay, firingand experimenting with glazes and textures. The membershad some 120 interesting pots displayed.In the C.S.A. Gallery Wilf Wright displayed someinteresting pots different from his usual style ofcraftsmanship.The Graphic Art Exhibition was not well supported bypotters and therefore the few pots submitted made rather apoor showing.Also in-the Gallery there was a combined Exhibition ofthe work of Chris Grosz, painter, and Rex Valentine, potter.Out congratulations go to Rex for having 3 pots bought bythe McDougall Art Gallery and one by the Teachers' TrainingCollege. Rex Valentine, a new young potter, hopes to go toJapan next year and his stay there ought to give him theexperience he is seeking.Recently Several Arts had an exhibition of Nelsoncrafts. Represented in it were spinners, kintters andweavers whose work was well executed and displayed. Thepotters included Christopher Vine, earthenware, NancyMalcolm, raku, Carl Vendelbosh, Bob Wallace and StephenCarter, stoneware, and the over-all standard was high.On the opening night many pots were sold. WarwickFreeman and Ray Mitchell also exhibited some finesilverware.A group of people who through time and dedicationhave developed skills and knowledge in some art form arecreating an "Artists' Quarter" between Oxford TerraceAlwaysingood tasteBISCUITSCONFECTIONARYCHOCOLATESCANTERBURYMOTOREX LTDL.M.V.D.FOR NEW VOLKSWAGENSAND QUALITY USED CARS©71 RICCARTON RD PHONE 41-832and Tuam Street. The first two involved in the venture areNoel Gregg and Peter Marden. Noel is an iron-worker andPeter an artist. A building was made available for twopotters, Denys and Philip Hadfield, and soon after SueTurner and Noelene Bull set up a studio for weaving. Theowners of the property are making room for full-time artistsand craftsmen to develop their own studios while in andaround them will be open courtyards and trees. A Galleryrun by Peter Marden called the "Iron and Art Gallery" isfor the resident artists and is open during the week.The over-all aim is to develop this area of Christchurchinto an Artists' Quarter, each having his own studio, whilesharing the Gallery, to help and encourage artists andcraftsmen to develop their skills by discussion and thesharing of creative ideas.The June meeting took the form of a brief history ofporcelain by Rosemary Perry which she concluded bydescribing the difficulties of the making and firing ofporcelain, which we all found most interesting. TheFor Quality Meats andSmallgoodsBUY FROMC F M Butcher ShopsChristchurch254 FERRY ROAD, WOOLSTON54 HOLMWOOD ROAD, FENDALTON511 PAPANUI ROAD, PAPANUI812 MAIN NORTH ROAD, BELFASTAshburtonBURNETT STREETTinwaldMAIN SOUTH ROADTimaruCHURCH STREET, STAFFORD STREET (2 Shops)C.F.M. S A L E S L T DLICHFIELD STREET CHRISTCHURCH


evening was concluded by Mari Tothill showing slides ofsome porcelain from the National Palace Museum in Taiwan.The theme of "Vitality in Pottery" was the basis ofthe July meeting by David Brokenshire. A passport to themeeting was three pieces of fired clay which displaysome aspect of vitality be it for texture, colour orfunction. The attendance was large and the display ofpots very interesting and stimulating; so too was thelecture which left us all with something to think about.The McDougall Art Gallery had an exhibition of potsby Hamada kindly lent by local members. The display wasattractively arranged and spot-lighted which showed thepots in all their perfection.Mari TothillSYDNEY LOUGH THOMPSON O.B.E.-A TRIBUTE.The first time I saw him he was painting apicture of the Worcester Street Bridge, with the Chamberof Commerce beyond and a beautiful pink flowering cherryon the river bank in the foreground.Tall, with a black beard, and wearing a sombrerotype of hat and an elegant cloak — for there was aneasterly blowing — he concentrated on his work quiteoblivious of those who stopped by.BlirbenySOFLONDONThe eoat with theInternational LookSuperbly mad* under LICOT— In N.Z. by Skell>rupP.O. BOX 669 TELEPHONE 50-735Serieke Jones51 CATHEDRAL SQUARE(CORNER CHANCERY LANE)CHRISTCHURCHHORI C COL LETTfSM.C P.BO A. (Hons.) LONDON.OfikimStepping back from his easel he would hold up abrush full of paint between his eye and the subject,seemingly to check the tone and the colour, and thenplace it deftly on the canvas.It was the first time I had seen a real artist atwork — and I was fascinated. Here was the legendaryNew Zealand painter back once more from France where hehad been living for so long.I was young then — and so was the cherry tree. Manyartists painted that same cherry tree. Margaret Stoddartdid a lovely water colour of it.But art is long and life is short, so says theclassics. Paintings endure, but the cherry tree has longsince gone, and now — so has the painter.The recent deal in France of Sydney Lough Thompsonat the ripe old age of 96, brings feelings of regretrather than sorrow. His life's work was done, and onedoes not mourn his passing.With over seventy years of painting to his credit asignificant chapter in the history of New Zealand paintinghas ended, but his paintings remain.Though some may think not he has had a far greaterinfluence on the course of New Zealand painting than hisfirst teacher Petrus Van der Velden whom he admired somuch.Tasman Gallery Ltd72 GLOUCESTER STREET(ONLY 2 DOORS FROM CSA GALLERY)# Individual, Artistic picture-framing# Dedicated, Expert Art-restoring# Large Collection of framed and unframedprints# Valuation of paintings etc.# Repair, regilding old framesT A S M A N G A L L E R YI. Jerphanion, DirectorIn those days foreigners rarely came here and Van derVelden, with his colourful personality, his bohemiandress and his bombastic manner, outshone local artistslike John Gibb, a somewhat dour Scot but nevertheless apainter of merit.He fired the young Thompson with enthusiasm, but hisinfluence did not last.On his arrival in France at the beginning of thecentury Sydney Thompson soon discarded the sombrepalette of his old master for the rich pure colour of theImpressionist school, and his painting developed rapidly.It sparkled with a unity of light and atmosphere. Histechnique loosened, and, since he was a draughtsman ofconsumate skill, with a few deft strokes of colour hecould suggest a figure standing relaxed in sunlight, asconvincing as the background figures in Rembrant's"Night Watch" or the figure of the man servant drawingthe curtain in velasquez' "Maids in Waiting."It was not until the early thirties that I got toknow Sidney Thompson. I was living in one of his studioflats in Cambridge Terrace when he returned once more fromFrance. I saw a good deal of him from time to time and heoften asked me into his studio next door to see his work.He was a kindly man and softly spoken, but hisgentle manner belied his underlying strength of purpose.ContemporaryJewelleryGuenter TaemmlerGOLDSMITH186a Papanui Road ChristchurchTelephone 557-6 51JEWELLERY POTTERY WOODWARE


ReviewsHe was dedicated to his art, and generous in his advice toyoung painters. I never once heard him criticise a fellowartist unkindly — nor anyone else for that matter.Though he is better known for his landscapes he wasalso a remarkably fine portrait painter. His influence hasbeen wide. It extends from John Weeks and the Kellys —Elizabeth and Cecil — down to painters of the present time.The painter who came nearest to emulating his styleis Evelyn Page of Wellington. But no one could equal hisamazing sense of colour.John OakleyCSA Gallery hoursMonday — FridaySaturday & Sunday10am - 4.30pm2pm - 4,30pmIntroducing Abstract Art. By Robin Capon. 128 Pages 152black and white illustrations. 4 colour plates. Batsford.$4.80.In the illustration the paper was first folded inhalf. A meandering line was drawn either side of the centrefold, the lines being repeated outwards to the edge of thepaper. The spaces between lines should be varied and theyare coloured accordingly.This description, taken from the book is typical of theflavour of the whole. It is a book primarily concerned withtechniques. A few suggestions are made of where certainartists got their ideas. The characteristics of variousmaterials are described and their effects when puttogether. Of interest not only to teachers, but toparents, and indeed to many who might wish to understandtechniques.SEVERAL ARTS809 COLOMBO STREET, CHRISTCHURCHTELEPHONE 79-006GALLERY FOR EXHIBITIONSWEAVING AND SPINNING SUPPLIESHOME OF FINEST POTTERYFor all travel - anywhere131 Cashel St


New Zealand Composer Edition — Chamber Works Vol. 2Anthony Watson: Sonata for Solo Viola. David Farquhar:Three Scots Ballads. Douglas Lilburn: Sonata for Violin andPiano. Sonatina 2 for Piano. Viola: Gavin Saunders.Baritone: Barry Mora. Piano: Margaret Nielsen. Violin:Ruth Pearl. KIWI SLD-32All four works on this record will repay carefullistening. The Lilburn Sonatina and especially the WatsonSolo Viola Sonata may seem difficult for the listener atfirst hearing, but those who take the trouble to listencarefully for a number of playings will not be sorry.The Solo Viola Sonata is given a fine performance. Itis in four movements, and all except the final dance arefairly sombre pieces — one looks in vain for a joke in thescherzo. The only slight difficulty I have is the inclusionof tonal sections in a predominantly atonaJ work. But thisproblem seems to be diminishing with repeated listening.David Farquhar's Three Scots Ballads are supurb. Heachieves here an economy and clarity which is not alwayspresent in his symphony. The baritone I find uneven, attimes thrilling and then annoying because of excessivevibrato - but more thrilling than annoying. It is hard toimagine the piano parts of both this and the Lilburn betterplayed.The two Lilburn works are good examples of his earlyand more recent styles. The Violin Sonata (1950) is fairlyeasy to follow, but no less good because of that. TheSonatina (1962) will possibly require several listeningsbefore one likes it, but as with the Watson viola work iswell worth the effort.The Australasian Performing Rights Association (APRA)is to be congratulated in making this record available.Kit PowellLILBURN: Aotearoa Overture. Third Symphony.FARQUHAR: Symphony. NZBC Symphony Orchestra -KIWI SLD 14This record is another of the New Zealand ComposerEdition made possible by APRA. It was first issued aboutfour years ago.The two Lilburn works are again examples of his earlymodal writing (the Aotearoa Overture) and his more recentterse style {the Third Symphony). The Overture is easy tofollow and is exciting music. The Symphony requires morework by the listener, but the effort is well worth it.After Lilburn's economical style, the FarquharSymphony seems rather long. The first and third movementsare more successful than the middle movement.Both works are very well performed; the Lilburnconducted by John Hopkins and the Farquhar by JuanMatteucci.Kit PowellSTRAVINSKY: Firebird and Petrushka Ballet Suites. BerlinPhilharmonic Orchestra, conducted by Leopold Stokowski.EMI CFP 134Stravinsky made a concert suite of music from hisFirebird Ballet, but no such "authorised" suite existsfor Petrushka. The Petrushka Ballet "Suite" on thisrecord is a suite extracted from the ballet by theconductor Stokowski. It starts with the "Russian Dance"(the second piece in the first tableu) and omits thethird tableau (the scene in the Moor's tent), but sincethe last four bars of the second and third tableaus areidentical, there is no obvious hiatus.The nonagenerian Stokowski manages to draw the verybest from all sections of his orchestra, but particularlyimpressive are the brass and percussion departments — indeed,the record has made me aware of aspects of the brasswriting of which I was previously unaware. One exampleis in the Finale of the Firebird where the music speedsup and goes into 7/4. Stokowski takes this section ratherslower than is indicated in the score, but presumablyby doing this succeeds in making the horn glissandi as Iimagine Stravinsky would have wanted tham and as I havenever heard them before. The effect is quite electric.There are many other fine moments, and only one veryslight disappointment: the xylophone does not seem quiteclose enough to the microphone. In the "Infernal Dance"of the Firebird one has to listen for it, whereas itwhould demand attention. However, with so much torecommend the record this is just a quibble.Kit PowellBEETHOVEN: Piano Concerto No. 4 in GMajor Rondo in G Major. Hands Richter-Haaserpiano. The Philharmonia Orchestra conducted by IstvanKertesz. CFP 155 EMI $3.99.Hans Richter Haaser is an intensely articulate pianistand establishes this at once in the marvellous five-barstatement with wich the work opens. There is no doubt thatthe dialogue has begun and one is never again unaware ofit, even in the more decorative solo passages of the firstmovement, and in the brilliant cadenza. This quality makesthe record outstanding and never more so than in thebeautiful short second movement where the piano,pianissimo, appears in a series of encounters with thestrings, sempre staccato. Richter-Haaser gives gentleurgency to the piano's message wich heightens the reliefand joy of the final movement. Istran Kertesz gets anextraordinary sound, particularly from the cellos,suggesting steady, menacing, resistance. The break up.which begins at Bar 38 with the first diminuendo, is deeplymoving and shows a sensitivity matching that of RichterHaaser. The recording is good, and particularly satisfyingin the Second Movement where the contrast in volumebetween the two protagonists is maintained without thepiano losing immediacy.The second side ends with Beethoven's graceful Rondo inG Major.BCD.RAVEL: Le Tombeau de Couperin, Prelude, Jeux d ftau,Gaspard de la nuit, Sonatine. Werner Haas: piano. PhilipsUniverso Series 6580 046 $3.50.The playing of Werner Haas has a clarityand a taut elegance eminently suited to Ravel'spiano works, especially if one thinks of Ravel as aFrench neo-classicist. There is an emphasis on form(take for example the Fugue from Le Tombeau deCouperin) and a fastidious attention to detail whichresults in a glittering and sparkling performance of theimpressionistic J'eux d'eau.The taut control is particularly obvious in "Ondine"from Gaspard de la Nuit where the hands alternately takeup a fast trill leaving to the other a slow rhythmic melody, andin "Le Gibet" from the same work, where a sombreB flat tolls monotonously through the entire piece.Then comes the very exciting 'Scarbo' (name of a diaboliccreature) played mostly in the lowest register(s) andextremely fast. Here, however, I did wonder whether asubjective approach might have produced something moregenuinely terrible.This is altogether a most interesting record andgood value at $3.50.BCDROCK-JAZZThe music of John McLaughlin's MahavishnuOrchestra on Birds of Fire (CBS 474078) is an excitingsynthesis of heavy rock played by jazz and rock musicianswho claim some links with the music forms of the east.It is also the culmination of the efforts of manymusicians, among them a drummer Tony Williams, guitaristLarry Coryell, and larger groups led by Miles Davis.The first music of this type was from Tony Williams onhis Lifetime Volumes I and II, both of which featured JohnMcLaughlin on Guitar Ego, the third in the series tookthe music even further, and this in turn was developed byMiles Davis, who was much criticised for his rejection oftraditional lyrical tonal forms on a double album Live Evil.


The orchestra, only five strong, has Moog synthesiserand violin to augment the traditional guitar, bass anddrums trio."One Word" is the longest and most exciting of theten tracks, but two shorter tracks, "Open Country Joy",and "Thousand Island Parks" are reminiscent of the lyricalmusic of Gary Burton. This is certainly the most excitingof the albums yet released by McLaughlin.John McNeill.ROCKFAMILY. Bandstand. Reprise Stereo 4000. Released inN.Z. through EMI.Sometimes Bandstand can sound like a rather ordinarynoise, but the next playing can stand you on your ear.Roger Chapman is the focal point of the band although hisgritty, trembling vibrato vocals seem a little moresubmerged than on some of the group's earlier stuff. Heand Charlie Whitney, the band's song writers, have producedeight of the nine tracks on the album, amongst them thestrong "My Friend the Sun", "Top of the Hill", "Glove",and "Coronation". Family's music is not easily accessible.It takes time to impregnate, and even when it has it isnot really your good-time groovin' party rock. And that'sparticularly true with this record where there's a broodingmelancholy floating around the edges. It's a "Yer Blues"sort of L.P. which perhaps explains why some of the fireof theri earlier things like "Gypsy Woman" seems to havegone. It has a terminal quality — the sound of a band nearthe end. In fact, Family is disbanding, according to onereport, about the end of this year.But, make no mistake, Family still drive . On tracks like"Burlesque", "Dark Nose", "Glove", and especially"Top of theHill" they still churn but it's darker now.A.J.H.seeFISHERS100 Years of Experience at yourservice forTHE BIGGEST SELECTION OFREPRODUCTIONS IN THE SOUTHCHOICE FRAMINGRESTORING PICTURESDAMAGED OR MOULDEDCLEANING PAINTINGSREGILDINGBUYING ANDSELLING GOOD ORIGINAL WORKSVALUATIONSH. FISHER & SON LTD.Fine Art Dealers 691 Colombo St.(Between Cashel & Hereford St.)


Thatsunken tank turr et spit lead like popcorn off a hot stove.....By P. Clairmont, Sept 1972 from G.I. Combat Comix

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