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Studio: international art — 6.1896

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Studio- Talk

chose this place ? " I ask ; but Mr. Dawson laugh-
ingly denied the imputation, and after looking over
many photographs of work long since dispersed,
I leave with the memory of such a feast in
colours as only humming-birds' breasts and butter-
flies, stained-glass windows, and actual jewels
could rival; and firmly convinced that in enamel
England need not fear the superb competition of
Japan, any more than that of Europe. In its own
way, and for its own qualities, Mr. and Mrs. Nelson
Dawson's work is equally worthy of being con-
sidered masterly. E. B. S.

A REBUS. TRANSLUCENT ENAMEL

BY EDITH AND NELSON DAWSON

ASERIES OF JAPANESE
DRAWINGS. II. MONKEY
AND FERNS, BY SHO-TEI.
The drawing reproduced on the
opposite page is by a contemporary Japanese artist
whose works are not well known in Europe. Evi-
dently deriving his inspiration from Sosen, the great
painter of monkeys, Sho-tei has not fallen into the
errors of some other imitators of that painter, and
over-burdened his subject with details. The young
fern-fronds are kept in pleasant subordination to
the main feature of the composition. The fur of
the animal is suggested by clever brush strokes,
and the finer touches of detail are reserved for the
face, ears and hands. We are indebted to J. Bad-
cock, Esq., the owner of the original drawing, for
permission to reproduce it in our pages.
178

STUDIO-TAEK

{From our own Correspondents?)

LONDON.—It is with excellent judgment
that the Fine Art Society has induced
Mr. Whistler to allow a really represen-
tative collection of 65 of his lithographs
to be brought together in their gallery.
No better means of celebrating the centenary of the
invention of lithography could be devised than this
display of the works of the artist who has among us
had the chief share in reviving intelligent interest
in a fascinating but long neglected method of art
expression. Lithography had for so many years
been regarded simply as a conveniently cheap pro-
cess, by which mechanical repetitions of commer-
cial commonplaces could be made, that most people
had forgotten its many possibilities when handled
with artistic intention. Mr. Whistler has now
proved beyond dispute that drawings on stone can
be made worthy to rank among the best examples
of black and white work, and has converted to his
opinion many other artists of note. Therefore
these proofs of his convictions have an interest
that can hardly be surpassed.

At the Rembrandt Head, Vigo Street, Mr. Dun-
thorne has opened an exhibition of original litho-
graphs ; not limited, however, as rumour foretold,
to those printed by Mr. Goulding, nor to those
done expressly for the English section of the Paris
Exhibition of a Hundred Years of Lithography.
The catalogue includes familiar work by J. McNeill
Whistler, Charles Shannon, together, with several
others issued as supplements to The Studio ;
also those by G. F. Watts, L. Alma-Tadema,
J. S. Sargent, F. Short, C. J. Watson, and A.
Hartley, reproduced in our pages. Among things
shown in England for the first time are some very
striking fantasies by the symbolist, Odilon Redon.
Two very powerful drawings by Colonel Goff, The
Deserted Quarry and The Valley of the Itchen, are
excellent specimens of the lithograph carried farther
than it is in the majority of works shown. Timber
Ships, Yarmouth, and Eel-Fisher, Volendam, both
by Frank Short, are also evidence of the facility
with which a skilful etcher employs a new medium
C. H. Shannon's Portrait (of Mr. Van Wisselingh),
his exquisite Ruffled Sea, Sea and Breeze, and the
large Ministrants, again tell out with conspicuous
dignity, showing how charming lithography can be
when developed entirely on its own lines. George
Thompson's The Picture-Book, is another instance
of the old as opposed to the new lithography. For
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