Art Notes

The decision in Hanfstaengl v The Empire Theatre is a very serious matter for artists and for publishers. To the artist, as the producer, the decision is one that will bring injury to his artistic reputation, and grave loss to his monetary returns. The law appears to be that any picture, however recent, may be reproduced for the delectation of the motley audiences of the music-hall, to come, mayhap, after a “turn” of the coster, and before an “exhibition” of tight-rope dancing. As soon as a picture is the talk of the town, like “The Doctor,” “The Roll Call,” or a dozen others, this work may be represented on the stage in exact reproduction with living figures, or parodied as to be only a “colourable imitation.” In any case the work is rendered valueless for serious publication, and where several hundred pounds could before be safely paid for the copyright, the publisher in future will hesitate to give more than a nominal price for what can so easily be reproduced The decision seems to be a correct interpretation of the law, and the only remedy can be by Act of Parliament. For a long time the publishing section of the London Chamber of Commerce has been considering a new Copyright Act, but there seems to be some fatality connected with British copyright, and no attempt to make the law simple and workable appears to be possible.

The collection of Japanese Lacquer and Metal Work brought together in March by the Burlington Fine Arts Club was one of the very highest artistic excellence. The elaborate catalogue contains the fullest details of the pieces exhibited, preceded by a complete account of the Metal and Lacquer Work of Japan, written by experts.

THE ROYAL SCOTTISH ACADEMY EXHIBITION ~ this exhibition, the sixty-eighth, was opened on February 16th. Adopting Alfred Stevens' words, Un feintre a tort d'abandonner le pays ou il est ne et ou il a fasse sa jeunesse, the Academy has drawn the line more strictly even than before at Scottish Art, the main exceptions being a few of the Scotsmen who have made London their home. The President sends four portraits ~ including Lord Mountstephen and Dr. Walter C. Smith; the latter a very striking work ~ and a large “Highland Pastoral” full of tender feeling. Mr. W. E. Lock-hart exhibits his portrait of Mr. Speaker Peel, considerably altered since first seen in London. The most important original work is shown by Mr. Robert Maegregor. In “Returning from the Market,” a sandy plain with excellent distance is occupied by two figures, a woman and girl accompanied by a donkey laden with vegetables and other purchases. If the canvas be a little empty, this fault is atoned for by the brilliant light that fills the scene, setting out the figures in fine relief. From Mr. C. M. Hardie comes the historic incident in Sciennes House where Burns met Scott, then a boy of fifteen. The persons present are Adam Smith, John Home (of “Douglas”), and other prominent men. The representation of Burns, as he turns from the picture on the wall to ask whose words they were which so moved him, is very satisfactory; while Scott is less so, the boy being a trifle saucy in manner. Mr. George O. Reid exhibits an animated group, the Jacobites in Smyrna Coffee House, London, receiving the news of Prestonpans. The agitated group is well conceived, and the costume painting merits praise, but the flesh tints are rather chalky. Mr. Allan Stewart gives an Armada incident, a Spanish commander seeking shelter from Maclean of Duart. The artist has realised the distinctions of race and differences of costume, and sets the distant vessel in a good atmosphere. Mr. J.D. Adam in “Summer - Loch Ard,” cattle resting amongst trees, with the water and hills palpitating ~ in the hot air, contributes one of the best landscapes. The contributions of Mr. MacTaggart are strong in tone and handling, but not quite so successful as we could have wished, and Mr. Robert Noble shows five works in his accustomed rich tone and suave manner. Amongst the water-colour drawings those of Mr. Thomas Scott and Mr. R. B. Nisbet deserve recognition; and Mr. Arthur Melville contributes a brilliant work, “Moorish Procession - Tangier.” Sculpture embraces Burns panels, by Mr. W. G. Stevenson, for Chicago; a highly imaginative “Rhythm,” by Mr. Pittendreich MacGillivray; and Mr. Birnie Rhind's two accepted statues with adorned pedestals ~ in model ~ of Sir Peter and Mr. Thomas Coats for Paisley. The recently deceased artists commemorated are John Pettie, Gourlay Steell, and dark Stanton.