The Observer from London, Greater London, England • 23

Hockney and Solti come to the rescue orders, goes to prison, eventually John Gross finds two bright spots in a barren week. away, we were shown an Italian girl wandering around Chelsea and exploring London by bus with flame colours to give new taste." Occasionally, too, Sgr Fratini himself put in an appearance, casting a glad eye in the obvious direction. Other highlights, included the changing room in a boutique (alas, it seems that few of us have yet learned that nakedness is basically a spiritual and the traffic streaming out of London on Friday afternoon apparently a large proportion of the population spend their weekends -m Scottish castles. And so we say farewell to London, city of the erotic a never-closing Garden of Eden where the Tree of Wickedness has never taken This week's Somerset Maugham adaptation, Episode, was a sad little story about the class-ridden romance between a man and a draper's daughter The boy starts stealing postal the frame within a frame, the fascination of painting a whkh was i.lself based on a painting By way of analogy he began with the Kodak advertisement whiLh shows the corner of the snapshot peeling away from the paiie. It could have augured a merely gimmick approach, but any doubts on this score were soon allayed as he moved on to cite parallels from his own painting "vnd if a Ciombnch.

say. would no doubt have probed deeper into the psychology' of illusionisjii. Ho A ne iicv.ithe-less made a htghb effective popu-lar lecturer, brisk and eas to tollow He hav charm, too With his flat vowels, and his deadpan approach, he is rather Ilk. a platinum blond version of Alan Bennett. the same evening BBC-1 p-esenred the first of two programmes in whiLh Cieorg Soiti looked back over his life and ACTUALITIES and old mm ies apart.

I saw onh two programmes last week I thought were really ivorlh uatching. One lasted for a bare 2v) minutes, the other went out al the witching hour of 10 past II Still with television generally as barren as it ts right now one must be thankful for medium-sized mercies 7he shorter of the two items, shown last tuesvlv on the admirable Canvas series (BBC-2i. featured IJjvid Hocknev talking aboul the Domeniehm-o frescoes, in the Njtion.il Ciallery pamtc's view of iut an art historian's Hos'knev didn't eoncern Himself with Uomenishino's diminished reputation, or with his place in the tradition Instead, he went straight for the visual tricks which interested him personally the trumpc'l net! foreground. Lessons on the site EVTRY so often a few Mirmtrv of HoiiMng olhciats the i buretiiit jlic tutehall perch and see a reLiJ building job nyh through from oesiyn (1 na! itC.upa;ion "The reMjUs of one such fora were published ai week in Design Bulletin No 15. PamiK Hi1 uses a I West Hani (HMSO ih The ile purpose of the I ondon rrercise -a in c.im cxpcnerKe in -he pr-Hdic-il app'trilion of Parker Mirris which, in the arvmlevturaJ.

worlds, is a Throw aw a expression emVjcmu retommcniJUtions o1 i'lC PrtTkCT MoFs repOTt for vpiiC sir.iLie heating diui other standards nii'iilmc tne number or power po put "rilo she modern ciuin-cil h.mc. The 1imiLr 'esejrh ac cl-rnc'ir jtup Keai" 1 1 West a.m nine jjjo hirt Tnerc ajs a social survey, then 3 homes were designed for the ti awkward site The hou ere occupied tn 1 and Ihe ofrictdl in eslt gators relumed a ear Idler to see how their ideas had worked oat in practice found that, a thou eh holh a Kvirvg and a dming-room had been provided, stilt wanted to eat fn he ktchen winch was often too s-itkiI, Doors led info ga rcfens from some kitchen? but other am lies had to go ihrouah the dinmg-room. The MirwsiEr experts believe the kitchen should really be left as a cooker cul-dc-ac, safe from the potential danger of human through traffic However, the people presented with thi-. advantage were much more worried by ihe mud that crept across the dtmne-room doorstep. The architects had installed fls'-or-to-ccl inc indows in the Ining-room to transform the uny garden mio the ujrrently fashion able linked outdoor room But the showed that, as well as some d-scontent at (he extra cleaning invoked the bottom o-f (he glass was blocked furniture- a nice idea went cneiboard because the rooms themsehes were still too small to combine mc1 and the normal and necessary clutter of family life.

Other criticisms involved the storage-heating sysflenn the small size and lack of privacy ot the garden, some aanng cupboard were not big enough to take bed linen elbow-s were restricted oei washbasins Bui Lf some of the ooncl 1 1 --on cav s.c em ob iolk. the team were decern ntr wiihin certain and they did al least go back to get reaction Mso. ot ier ideas worked oui very we If Now the research and development group is involved in a project tn Ffncharmstoad, Surrey, which arms to untangle the problems of component building, for there is a long way io go before architects can order kjts of parts from a catalogue and know tihey will fit together as easily as I-ego. In iddfeon. some lessons from West Ham have filtered through, including a different heating svstem, more roonn kiU Herts, a more in frated dming area But there is rrf cartten access in some houses trom ihe dm.

rig-room, and it was the UKal rural district louhci1 'vhith suippdl proposed full Icnulh g'as will or wmfo hnrt nf rhc fio.M Ihe design of the acLep-nable and reasonably priced home seems remains as complex and elusive as ever falls out of love the girl, already estranged from her family, puts her head in the gas oven. It w'as well produced, the Silver Jubilee period atmosphere was carefully built up. Joe Brown and Anna Calder-Marshall both turned in creditable performances as the Jovers. But none of it quite rang true- and there is something peculiarly painful about watching a tragedy which only just faih to come to life. Codename Portcullis fBBC-l i.

written and directed bv Bill Hays, was a cloak and dagger (or lather gown an3 dagger thriller about a counter espionage group run by the master of a Cambridge college and a couple of hi junior colleagues. Underneaih its modernistic trappings- -shots in silhouette, abrupt cutting, and so forth it was basically an old-fashioned ivy-Jad whodunnit and none the worse for that passable light easy to watch, and easv to forge; cards its winning ace by presen -ing his songs snippets, often badly recorded they have a fine, rawboned touch of poetn and no portrait can be complete when his lyrics are reduced to random, inaudible noises The only other new ft I ma thu week arc both pretty dire. The Great Train Robbery certificate U), made for German television, reconstructs Che British crtme of the century with touching Teutonic thoroughness, even going to lhe trouble of having Scott is i banknotes lor the raid Al the evenLs, it seems, are authentic, but that doesn't prevent the from being tedious in its early stages, and mildly demented later on as passions rise and the dubbed English voices emanating from stolid German faces begin to resemble a Goon show When producers and distributors learn that nothing sinks a film so fast as dubbed dialogue' Not, al any rate, in rime lo sase Therese and Isabelle (Continental, certificate XI. hich is American German co-production with a Swedish leading lady, French dubbed dialogue, and English sub Utles. Not that anything could have helped this elephantine laic of passion between two elderK-looking schoolgirls.

There is some nudity, quite a bit of nauEht junketing in school chapel and lavatory, a lot of purple prose (uuh the dirtiest bus left discreetly untitled), and not a flicker of life, pornographic or otherwise. Telephone Maidenhead 22323 869a -'OLA8S FIBRE CO STRUCTtOMS' FOR THE AMATEUR Second edition out now You can build pMh, cano 9 pardr- i dtj scu'clu'es too' iT' til In Ovjt reportable bok. pciarfrr wriMri by njjflrlj jc amateur ComplM wilh mpie Truer ar- ird o9i 1 5 iFlut-ntlona Introductory pfir or Ihn tntrmtna booh only 11 poslftga. Order now 'rom- icnonu INTER DWOKl 3 C0TSVV0LD usOEriS LONDON IW: GOING ON HOLIDAY ABROAD? The Observer is available most resorts and in all main centres on the Continent. Copies are on sale at newsstands, kiosks and at rail and air termini It you are staying in an hotel you should place an order with the halt porter as soon as you arrive Alternatively, you can have The Observer posted to you abroad.

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I 1 I I SCHOOL 1 1 1 1 FEES Ii I i It pays 1 1 to plan 1 1 14 ahead II Our free book gig 5s I Qives the lacts 8k NAME ADDRESS professional career. Despite the handicap of an interviewer who responded to his answers like an animated waxwork, Solti was consistently lively and urbane. There were rueful reminiscences of his beginnings as a child pio-digy. ivid gtim.pses of Kodaly, lw.anuii. Josef ki tps.

disarming conlessions about the tug of war between l.iincss and ambition-which he say-, has ahvass gone on inside him. I wis'h he had had more time, too to enlarge on hi.s views about Hungarian culture, ot which he teeK so deeply a part. A.t Solti talked, the storm clouds of the thirties were very much in evidence. He took up an appointmcn: in Germany just before the N'ais came to power he made his debut as a conductor in Budapest on the night Hitler marched into Austria he left for Switzerland (and said goodbye to his falher for the last time) a few davs before the outbreak of war. OM ELL GALLERIES 19fh 20fh Century Paintings at realistic prices 12 Rnr Srrcct, Si J.iiha fUW, I fjflos I'Lkc.

I 'rh pntrins ind LLjpnin- ihe 1c)(li jitd 2llth LoniyfiCN PORTAI ALLI.R Y. MAR ELI (U-S VONTSll HS HtceriL nJintmgs Ot Ltm iratiHin cnmnL in rwral scitir)K by CMESHtRI Ida, Grjfion Si Bvnd Sc 1 MAN RF.DEERN" LE 2d Otrk I SiMMF FXHIBTIIOV KKiLtt uV Scinemlier Hours 10-h Sat hi-1 ROWAN CLXER 11a Britum Place. London "Tel 4" 1727 "aili 10-6 Sals EtM GanJi Evans- ScLilplii re TIUCKERW 1 Ihsn-keraySi Kcnsiiwlon Sq tf 8S Patni-irijrs A VV ncnxilnurt rW LONDON SCFNE Till Auk 2l 7ic-St 10-6 iWd It)- iUl Sun ujj 10 10- TOOTHS PRUVI DFLC ROIX TO i 7 um me i Nnon of 1 mprcsAio-niM dnd f'uM ImpriauJoniai inLliKdinit svofl-s by (it)UDIN IN IFBOllRG LOISFU MAR-OLTI I MN.K D.h1 9 0-- JO Sals 9 Ul-l Rniton St. London VV.f rRAiKHll) GVII.EK II) Mount Ul.l'M SNTHOIOGV. VIC1 OKI ItFR MUSEUM.

HROOUI- IN BOHEMIA exhibition ol ctli Lin Arts Council evhrrniion. Till Scpi 14 wvdvs in- Wed ld-8, Suns 2.1D-6 Adm 4- WOOISTOCK GALLERV. 16 Woodanck Siren. Lcmrftin Wl MARSHALL. ROSS MAN SPllUNER.

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oran I jiLhn inn s-Htitfhr- Nciladd itcr until Sepi OXFORD GAI I KR at Bl ENIIETM PRK GARDEN CKN HICf WOOD-SlOt'k hv Adism1 Ara? E-ivcnmaycr Hporih KaoVhman Kennv Rtt-hmHrnd Tanri Twemv-m tn A rner mini Scpi I i Indicate1! upen on Sand at R' bti prr line BRIGHTON. ROYAt PAWIION RcKcrury and private rvirinnciH Oniii.il Uirnmin. imni Bin fcinBhjm Pal-a. nyu ei i Uis.pl.ii i rfslona tons jnj TurrHsh nji Dsnlj KJ-ti iriL. GRAPHOIHFK Contt mporar prtniv from 1 jprtim-s ColUcfon Rartaer'ji Hoast Blacken jit.

f- j.nK incliidirLa SurKJas in 2 St pu-rnhi Admission frte INfR'Rh um manuLicmrc d1i L-ms th new lVi.o-s eiL tin deal tn irn hU-j lor l- iL-uHifjnjsaiion. I ITI RAM TO VRt.FWINNFR. KU-HM I XHIB1- Bgrl 'ftutitatn open on Sunelav ni rfj pi-r I'jrrr vita. 1 suppose I ought to have known that the girls in Hyde Park show their narcissistic being by the simple expedient of having jewellery growing into their On the other hand, I would never have guessed, if Sgr Fratini hadn't pointed it out, that Wimbledon is the highest temple for the English that the young beatnik who has run away from home will soon find herself a seat at Wimbledon where she will be praying to Ashe. Laver and Small wonder that the terror of death is unknown While the commentary bubbled entirely of his own devising.

I shall be surprised if it is not more penetrating, more sensitive, more Pushkinesque more contemporary. It may be that Spartacus could rise to more serious levels if it had better music. Khatcha-turian has provided a B-movie score and it was sobering to see flowers showering into the orchestra pit at the end of a performarice of it. So much for efforts tojimprov'e musical standards in ballet! And in fact these standards were alarmingly low this season. The extreme rttbato applied to Tchaikovsky must be accepted after all.

Russians ought to know. But the abrupt changes of tempo were painful in Chopin, and the modern scores for Legend of Love and Carmen Suite were very poor. The Bolshoi's music may be excessively undemanding, hut the design department is much improved. As for the dancing- here we hit the high notes. The company as a whole seem to be passing through an intermediate phase the corps has lost something of its old sweeping precision and not all the minor parts were well danced But when the stars shine with such brilliance who can cavil? Maximova, Bessmert-nova.

Liepa, Vasiliev. Lavrovskv these have set standards which will linger on the retina for months and years to come An ignored generation? YOU probably won't have heard a bom the nintih National Ja.z and Pop festival being held this weekend at Plumpton racecourse near Lewes, Sussex. Today, for example, there is The Pentangle at 2 p.m.. The Family, The Nice, Chris Barber, and The Eolectkm at 7 p.m. There's a festival village which includes bookshops, boutiques and a dairy store for campers.

Judging by attendances in the past two days, altogether about half a million people will have peacefully listened to music they like. There was a similar gathering a mon ih ago tn Hyde Park when the Rolling Stones gave thejr free concert. Again, most neopte didn't know about it until it had actuaJh happened, and then ont because of little news items on television and in newspapers. To this half-million there must seem to be a conspiracy of silence among the communicators, a conspiracy whose effectiveness is growing rather than diminishing. John Peel, voted No.

1 Disc-Jockey in plays more worthwhile pop music per week, than 50 years o( Jimtin oung. He also believes that pop and politics go hand in hand so he is to be thrown awa by the BBC as if his radio programmes appealed to no one and vcre representative ol nothing. It seems that nobody at the BBC understood how Scarlatti could be played in the same programme as the best of pop and along with poetry and political comment. This week's edition of Oz contains a special supplement about TV, called The Bankrupt Medium. Certainly, there isnt a single programme on any television channel which acknowledges that the ha Lf-nri Irion who go to Hyde Park, or Plumpton, even exists.

But if their opinions and aspirations cannot be heard by middle-aged interpreters, how can they be properly understood or evaluated Many young people see a link between the drugs organisation: 'Shelter. the housing organisation revolutions a the Stones in Hyde Park: the Pop Festival, and sense a new awareness that their needs and their activities are being ignored. We may not )ike what they do or the music they make, but if we can afford to devote screen time to Fanny Cradock and David Jacobs, we can surelv pay some attention to rumblings from rhiis coJTection of attitudes. wrongly called ihe Underground Ironically a debate of sorts has been going on En the letters column of The Listener, under the heading 1 The Arts on Television Yet the various correspondents were so caught up in justifying iheir modus vtvc'iidt they forgot to mention that whatever the rtghtb and wrongs oE the arts on television, there isn't a single programme which embraces vvhat for many articulate unini; people Art- which Is; beme heard and seen thii weekend, not on The -irts programmes, bui PtUinpLon. fflsIilsL 3 Given this background, the programme was perhaps rather lacking in pathos, a pathos which it would almost certainly have had if Solti's manner had been more austere.

Still, all in all, it was a breath of civilisation 1 look forward to the second instalment to be shown this Tuesday. Through other Eyes (BBC-2) came up with a stupendous piece of nonsense, an Italian report on the British Woman by one Gaio Fratini Words fail me when 1 think of it, but at no point did they fail Signor Fratini, who went chattering on with gay abandon about the splendours and miseries of our current dolce 5fe I i if The Bolshoi redigested AFTER a rather bumpy critical ride almost entirely due to a mismanagement whioh contrived to put its worst foot forward on press nights the Bolshoi have left us- I have been looking up what I wrote after their second visit seven years ago. and find that almost all the comments, both favourable and unfavourable, could be applied again. It just goes to show that (as with ail successful revolutionary regimes, nervous that one good rising might lead to another) the current Soviet artistic motto is Evolution not Revolution. What struck me then as now was the surge and thunder of their attack and the high rhetoric of their style.

I pointed with admiring envy to the pyramid of dancing on which the company rests (perhaps 1,500 professional dancers, backed by two million amateurs). 1 complained of ubiquitous Bolshoi kicks (no longer visible) and knock-kneed principal boy stances, of a surfeit of wigs and jesters. And I guessed that Lavrovsky's Romeo and Juliet would be the last production in the old heavyweight style. In this I was completely wrong. Spartacus is a classic example of the genre.

If success is to be judged by acclaim the ballet is a masterpiece and if talent consists of exploiting a company's gifts then Grigoiovich is a genius. Serious criticism must discount the tirst as for the second. Lhe true genius (which Grigorovich ma well show himself to be) imposes his own vision regardless of lavish temptations it is be who shapes the dancers' talents, not the other way round. Spartacus is a thumping winner in an established theatrical style. It lies, in Western terms, nearer to the popular musical than out fragmented Iheatre is accustomed to.

fi fling a gap which many people have been complaining about. It is rather as though Otllas and Nureye had been recruited to star in East Side Triumph would be a foregone conclusion, but the artistic target would be limited. This is only to say that 'Spartacus is painted in bold poster-colours which set their own con-diltons. For example, in a tragic pas de deux, Spartacus runs to the back of the stage and stands with open arms readv to catch his wife in a sensational lift. like a seal poised to receive a ball on its nose.

In isolation it is horribly vulgar, yet in the context it seems perfectly natural, like the roar of cannon in the '1812 We are in the melodramatic world of the epic. It's all a bit too good to be true: however, as Goethe wittily remarked of the Lucretia legend, If the Romans were great enough to invent such stories, we should at least be great enough to believe them." The rewards of this broad expressionist style are great. But it has its drawbacks and Mc-Luhan has made us aware that the mere adoption of the style is significant. This medium, like others, is a message in itself and it is hard to overlook the implications of its mass-manoeuvres, or to forget that interest in Roman splendour and Roman violence has been the speciality of imperialist regimes from 1 ouis XIV and Catherine the Great down to Napoleon. Edwardian Britain and all the recent dictators.

Spartacus was conceived in the bad old days of 1952 and seems to me to reflect a Russia which has already vanished. The muscular super-hero brandishing a banner is familiar from many an old Soviet poster and is no more acceptable aesthetically for bearing a Latin name. It is hard to overestimate the invention which Grigoiovich has pumped into this huge dance-dirigible He has turned a mammoth ready-made his is the fourth ersKn- into a ballet separates the men from the bins Bui I shall be more interested to see a new work HO 1 1 KIA'OVI hstrianna Delpurt from Senegal, one oi the contributors to a targe exhibition ot contemporary African Art which opens today at the Camden Arts Centre, Arkwright Road, N.W. 3., and continues until 7 September. imi i ilfflllditiW -I mnsz kH3 Happiness in question A FEW years ago, the late Robert Rossen's astonishing last film was unceremoniously ditched at birth.

Never shown to the Press and denied a full West End screening, Lilith has been seen only peripherally and at the National Film Theatre for odd screenings. 1 hope tile same fate will not overtake Ewald Sohorm's Return of the Prodigal Son, fleet-in gly to be seen at the New Cinema Club (Nash House, 13 August, 24 September). Sohorrn, who made the worthy but plodding Everyday has never been one of my favourite Czech film-makers but this one is a beauty. The connection with Rossen is simply that both films, in exploring the mysteries of madness and despair, present an image of hallucinating, summery tranquillity, and end with a haunting question- mark placed against the notion of happiness. At the beginning of Return of the Prodigal Son a young man is being questioned in a mental home.

The doctor is patient and Jan is courteous and co-operative. Yes, he did try to commit suicide no, he has no idea why. Other inmates stroll silerutily through the asylum grounds or drowse on the terrace in the afternoon sun a young patient, encased in black tights like Cali- gari's somnambulist, practises solitary, mournful baLlet steps under the trees: and when Jan's wile and litlle daughter come to visn him, Che oungcoupie redrew er the if being together He loves her and she loves him, but love, as Marvell said, ii begotten by despair upon impossibility. They are, one would have thought, a perfect happy couple. Yet each time Jan is sent home as cured his obscure fear recurs, and he is sent back again each time he tries to escape, unable to bear the separation, that fear is reinforced by innocent but somehow ominous encounter vilh a travelling circus, soldiers in gasnuiks on an exercise, a priest holding a children's Bihle class in a garden until he flee.s in terror from pursuers who aren't looking for him at all.

Loneliness spreads through the film like a disease, infecting everybody who comes into contact with his fear and raising a barrier of solitude. Yet although the last images of the film are of the exterior of the asylum then a clo5ed door. Dylan in Don't Look and finally a blank screen, the feeling one carries away from it is less of black despair than of the urgent need for human contact Puzzled, wondering fcaces, hands clutching desperately for each other, dominate this extraordinarily tender film Also at Na.sh House, presented by Ihe K'A (weekends and Mondays), Don't Look Back is a documentary record bv D. A Pennebaker of a British tour by the pop singer Bob Dylan Despite an innate dis trust of cinema-verite techniques, where those wobbling, prying cameras often tell more lies than truth, I find thjs a fascinating film, mainlv because Dylan's personality continual!) bursts through its rather narrow limns. Seen constantly with a guitar in his hands though he might be lost without it.

he worries about details, he songs against a permanent background of chatter and music, and he browbeats interviewers into im becile stammering with a dis arming display of articulacv L'nlortunateh. the film also dis co4kLiaud irom puec 22 EMPIRE. Gcr 12JJ ALFRED THE Sep pcrf Td 4 0 A imtuttie 'pen otx Sundu prr rjf tJt prr such RO VL ACIlEn Lv.hburon of UJd DTanmjr- troni latswvjrih I Admi-Mon i Lidcncs dnd Ssj-itl ts 2-fi AHtRCORN GLLFH. Kcnsinijion Mall. 1 Hit UMh A.

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Ot ii random Vfi RIVLTO. -I '4- firr-ir Ptk nrc HcAw.u.d TFIt MOST ROI MN IN THF WOR1D 1 Pn iv. l'd at 1 VI i I VJ 'ri'm I i (Cit 12hJi Richard jn lint Irtsrvd WHFRF VGI E.S IHHF 'M I nia 2 1 (i A 0 RO ifT-KINfiSW Hflt si'i- SPrV ODSsSE lut Pas Mn. RTI OIO OF n.i. i i a -ir-v I 1 nfF.S CI Bl I LITT OF THI- 1r SL RNFR -I fa-r THI-I ONJION UH' F'tr BL HOt SF IN THI II 11 Bl Nf WIDM)LI Gcr "43 SWFDISH VNN Hll I lhi-hn MRGIN 2 i Torrow TTT 'I Mt One exhibit, of- of o--er SO striking paintings by ROY MtLLER al Hlghton Gallery 44 Cathedral Place, C.4 nexl lo Si Paul Station) Aug.

12-30. Preview Aug. 11- Phone 01-236 7947 HANOER GLLER tid G.corgc St DjiJ l'l- Hi Saw Until SepK-mlxr POETIC IMAGE Pa i ru i ji es and seulmuie i ri (oiinuil) Souih B.tnk pt)P I ill ix-pt Mon v-d Tri Sal IO-ft Tucs 7hii( ln-S Nun- Atlm If. Njsh ll.m- Lilt- M.i 1 1 U4 Wl) FANTAS'IK 14 Vimnjs Briiisi tns(s Fue Sjt I 2 Sun 2-" Closed Mi-n. Adm f- MUST ND AUG 1" II BIOL EST.

MVWOOD a ps tcad I N1 .1 hinm I ulir Mitlkt i ihH1 "hiii until 2Hth Sptt'inKr Open HV7 Sun l- Ad mission Free Nearest GoMcrs Green 2l() Bi KAPLAN GALLERV. 6 Duke Street. St Janp-'s I SUM MT FNHIBI-1 juN FHLNCH MPRLSSHINIST PMVTTNGS Mondnv-I ndj lit-. LEI EVRE GALLERV ContcmfHmirv Eroiuh and Briijh Pmmsnc- on vii UH JO Bruton Si I LONDON ARTS GALLERY 22 New Band Street 01-403 0afv VASAKEL p.Lmunit- A. Hr.inJin.

1 r' 1I'J (nrl VI I RlKS DCKI 1 RETT GROSFNOR Stjl ARE I NIK TORI S-SI I.MrRli MON 1) ERID irt-ri SVF UM OPEN mow si'ndw hu- si R.I PARR t.VIIERIFN Modt-rn Si.ill St-idn n'c ml I -nh I I -r vrif Hi kiPif Rd lp'jn ail djt Sat MARLBOROUGH FINE ART (LONDON) LTD MARLBOROUGH NEW LONDON GALLERY I I Jtd Bond I F.dvard MUNCH and F.mil NOLDF. I The Relationship nf their Art oils, wnlcrcnlourv. dr.iwinps graphics MERCURY GALLERY SUMMER EXHIBITION.