Auckland Art Gallery

QUARTERLY NUMBER NINETEEN—1961
EDITORIAL An important activity of the art gallery is its publicity — particularly through its catalogues, periodicals and postcards. For some time we have felt that the present method of display is inadequate. Shortly therefore, a new information and publications desk is to be built into the end of the print store so that the public may obtain better service. SIR JACOB EPSTEIN (1880-1959) British MRS JACOB EPSTEIN (Mask) 1916 Cover Bronze 9 1/2 ins high Purchased 1961 This bronze, purchased at the close of our Epstein retrospective exhibition earlier this year was formerly in the collection of Mr Arnold F. Thompson, Nottingham. A further cast of this work, but with long earrings, is in the collection of the Manchester City Art Gallery. In his autobiography, writing of this particular work Epstein said: 'In this mask, I immediately made what I think is one of my subtlest and most beautiful works. The serenity and inward calm are there, and from the point of view of style, the simplicity is that achieved by antique sculpture. I can recall that I worked at this mask without effort, achieving it happily, and was pleased with the result.' It is of interest to note that in the years immediately proceeding the 1914-1918 war Epstein had produced his most disquieting image: THE ROCK DRILL (Quarterly Seventeen), 'a machine-like robot, visored, menacing,' and this. work, among his first visions of true ' serenity and inward calm' was made in those years when Europe was darkened by war.		FRANCES HODGKINS (169-1947) British TWO GIRLS WITH A JUG Watercolour on Toned Paper 22 x 18ins Purchased 1961 MAX BECKMANN (1884-1949) German TWO FRIENDS Lithograph 20 1/2 x 16ins Purchased 1961

		With the recent addition of the watercolour TWO GIRLS WITH A JUG, our collection of works by Frances Hodgkins now numbers forty-three. In this painting, with its limited range of brown and fawn colouring, Hodgkins' command of tone is more clearly seen than in any other painting by her as yet in the collection. It was through this almost unfailing mastery of tone that the often vivid, but always limited, colour-range used by Hodgkins achieved its great subtlety and richness.

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