Studio: international art (65.1915)

New Etchings by James McBey

P.S.—Reference was made at the
close of the second article on the
Collection in last month’s issue to
Mr. Davis’s gift to the Luxembourg.
The works comprised in the gift are
as follows : R. Anning Bell, Gordon
Craig-, Oswald Birley, Mirror Por-
trait ; Sir E. Burne-Jones, King's
Daughter; Randolph Caldecott, three
water-colours (Beach Scenes); Charles
Conder, landscape with figures; Philip
Connard, A May Morning and Nude
Study-, Edmund Dulac, Princess of
China; Miss L. Gloag, Woman in
Green; Oliver Hall, Westmorland
Peat Moor ; Holman Hunt, a draw-
ing ; Augustus John, Portrait of A.
McEvoy (red chalk); Ambrose Mc-
Evoy, Madame; Sir J. E. Millais,
Mrs. Heugh ; David Muirhead, Lady
in Red-, William Nicholson, Still-life •
Sir W. Q. Orchardson, a portrait;
William Orpen, Cafe Royal; Glyn
Philpot, Belshazzar's Feast and a por-
trait; James Pryde, The Shan-, Arthur
Rackham, a water-colour; Mrs.
Rackham, Woman in Grey, Charles
Ricketts, The Plague-, F. Cayley
Robinson, water-colour illustration
to the Book of Genesis; Charles
Shannon, Sleeping Nymph; Walter
Sickert, Hotel Royal, Dieppe; Mrs.
Swynnerton, Nude Study ; H. Tonks,
The Merchant-, G. F. Watts, Eve.

TERRA-COTTA STATUETTE

TY JUTES DALOU

SOME NEW ETCHINGS BY MR.
JAMES McBEY. A NOTE BY
MALCOLM C. SALAMAN.

In Mr. McBey’s delightful art one rejoices to
note that development and progress keep pace with
success. His drawings in water colour and his
seven newest etchings, recently exhibited at Messrs.
Colnaghi and Obach’s, display the same individuality
and freshness of vision with the same spontaneity
and vitality of expression that from the first
distinguished his work ; but one finds these qualities
enhanced by a fuller and surer command of his
artistic means. And it becomes more and more
evident that he possesses style and not merely

academic, and in this, his art is a foil to that of
Rodin. The Davis collection with the loans from
it was the means of familiarising many Englishmen
with the art of the great French genius before he
made his wonderful gift to South Kensington
Museum. So much has been written describing
the passionate spirit of his sculpture that we may be
forgiven here for not adding a word. The pieces
reproduced last month and with this concluding
article are all representative of the most significant
stages of Rodin’s career.

It is with regret that we find we are unable to
mention more of the things which are so significant
of the influence of a great collector in his time. We
have endeavoured to adjust our letter-press to the
selected reproductions, space not
permitting us to run into a catalogue
raisonne of all the riches of this
wonderful London House.

T. M. W.