Studio: international art (46.1909)

Reviews and Notices

of Drawing and Mr. Seymour Lucas the School
of Painting. The Visitor in the School of Archi-
tecture will be Mr. T. G. Jackson.

Westminster School of Art has made rapid
progress under Mr. Mouat Loudan, the director,
since its installation a year ago in the new building
provided by the London County Council in Vincent
Square. At the last sketch club quarterly “ at
home,” examples of the students’ work were ex-
hibited, and the quality of some of the painting
and modelling from the life was uncommonly good.
The studies were shown in competition for local
prizes, and these were awarded to Miss Haig and
Miss Kay for modelling from the life, with honour-
able mentions for decorative modelling to Mr. F.
W. Hurdman (design for an overdoor to a music-
room) and to Mr. John Wadley. The first prize
for painting from the life was given to Miss U. W.

A. Parkes for a capable full-length study, the
second to Miss M. Trinder, and the third to Miss

B. S. Pedder, who also won the prize for drawing

with a group of studies, Mr. E. G. Stay winning the
second prize, and honourable mention being given
to Miss Parkes. In the design competition Miss
Davison was first and Miss Lancaster second. Miss
L. Lancaster, who was honourably mentioned for
design, was awarded the sketch club quarterly
prize. Among the landscapes, the water-colours
by Miss Trinder, simply and directly painted,
attracted attention. Miss Trinder’s contributions
also included the interesting design for a Christmas
card now reproduced. W. T. W.

REVIEWS AND NOTICES.

A History of British Water-Colour Painting(
By H. M. Cundall, I.S.O., F.S.A. (London:
John Murray.) 21 s. net.—It is somewhat strange
that, in spite of the multiplication of art mono-
graphs during the last twenty years, no complete
history of water-colour painting should hitherto
have appeared; but the gap has now been to a
great extent filled by the appearance of Mr.
Cundall’s new volume with its numerous excellent
reproductions of typical work done in England
from the sixteenth century to the present day,
including early miniatures and examples of water-
colours by Sandby, Wheatley, Cozens, Grobin, Con-
stable, Turner, Bonington, Cotman, Cattermole,
Rossetti, Burne-Jones, Millais, Fred Walker, Fred
Tayler, Arthur Melville, Whistler, and many other
artists of note. The book contains a vast amount
of carefully collected information that will be of

great use to the future historian, the actual text
being supplemented by appendices giving brief
biographical notices, alphabetically arranged, of the
chief exponents of the art under notice, and lists
of the past and present members of the more
important London societies, to which—the title of
the compilation being British, not English, Water-
Colour Painting—those of the principal Scotch and
Irish associations should certainly have been added.
Beginning with an interesting account of miniature
painting, in which he gives due credit to the Irish
monks who introduced the art into Northumbria,
Mr. Cundall passes on to consider what he aptly
calls the Topographical Draughtsmen, amongst
whom he places the Dutchman, Pieters Tillemans,
as one of the first to paint in water-colours in
England; William Tavener, Alexander Cozens,
and the two Sandbys; and he notes that although
the pioneers of landscape painting, Wilson, Gains-
borough, and Constable, worked chiefly in oils,
sketches in water-colour from their hands have
been preserved, proving that had they wished to
do so they could have achieved excellent results
in the less familiar medium. In the latter portion
of the book the artists are grouped according to the
societies to which they belonged, full details of
which are given.

Ancient Tales and Folklore of Japan. By
Richard Gordon Smith. (London: A. & C.
Black.) 20s. net.—The author tells us in the
preface to this work that the stories which are
gathered together therein were told to him during
his nine years’ residence in Japan, by fishermen,
farmers, priests and others wfith whom he was in
continual association. Many of them are new to
Eastern readers, and most of them will be found
interesting to students of folklore and lovers of
old-world myths. The illustrations, which are
reproduced in colours, are not good from either an
Eastern or a Western point of view, as, like so
many drawings that are produced in Japan at the
present day, they exhibit an admixture of the two
styles, entirely destructive of the essential charm
which rightly belongs to each when undefiled by
contamination with the other.

Old Lace: A Handbook for Collectors. By
M. Jourdain. (London: B. T. Batsford.) ioj. 6 d.
net.—This latest addition to the already copious
literature on old lace has several distinctive
merits of its own, the chief being the care with
which it traces the influence of contemporary
art and design upon the development of lace
and that of different countries and schools on each
other, and the arrangement in chronological order

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