DOI issue:
No. 56 (October, 1901)
DOI article:Wood, Esther: The national competition, 1901
DOI Page / Citation link:https://doi.org/10.11588/diglit.22775#0358
The National Competition
applies to a stencilled frieze by Harry
Tattersall (Heywood), in which a close
and complex pattern, well within the
limits of a textile or paper, is another
instance of conscientious labour mis-
applied. In designs for embroidery and
muslins there are several fresh and
dainty patterns by the same hand.
Perhaps the best of the friezes is by
Harry Ward (Taunton). It is a stencilled
decoration for self-coloured canvas, ad-
mirably suited to its purpose and
material, and drawn and executed, both
as regards the design and the actual
stencilling, in a thoroughly workmanlike
way. The same conscientious finish in
the setting-out of the working drawing
in its several stages side by side with
the applied design is happily shown by
Eric H. Swinstead (North London) in
his designs based on the nasturtium,
including a bureau-panel inlaid with
boxwood and fitted with a pewter handle
and lockplate combined ; and by William
DESIGN FOR AN embroidered counterpane H. Wilkinson (Leeds) in his design for
BY JAMES SIOOPE (BELFAST)
bold treatment of the
dandelion, and by Alice
Tyrer (Blackheath). Still
better are the stencilled
friezes and wall-decora-
tions for other methods
than paper. A wall-filling
and frieze, by John H.
Sayner (Leeds), is especi-
ally good in its strong and
unpretentious treatment of
that unwearying theme,
the rose. The design by
Margaret E. Martin (Wol-
verhampton) perhaps errs
a little on the side of
elaboration in pattern, but
contains much careful con-
struction, and in colour is
harmonious and quiet.
Stencilling, however,
seems to demand a severe
treatment of line, and
attains its charm rather by
sparse and broad figures,
allowing for the play
of a few well - chosen
tints. The same criticism
applies to a stencilled frieze by Harry
Tattersall (Heywood), in which a close
and complex pattern, well within the
limits of a textile or paper, is another
instance of conscientious labour mis-
applied. In designs for embroidery and
muslins there are several fresh and
dainty patterns by the same hand.
Perhaps the best of the friezes is by
Harry Ward (Taunton). It is a stencilled
decoration for self-coloured canvas, ad-
mirably suited to its purpose and
material, and drawn and executed, both
as regards the design and the actual
stencilling, in a thoroughly workmanlike
way. The same conscientious finish in
the setting-out of the working drawing
in its several stages side by side with
the applied design is happily shown by
Eric H. Swinstead (North London) in
his designs based on the nasturtium,
including a bureau-panel inlaid with
boxwood and fitted with a pewter handle
and lockplate combined ; and by William
DESIGN FOR AN embroidered counterpane H. Wilkinson (Leeds) in his design for
BY JAMES SIOOPE (BELFAST)
bold treatment of the
dandelion, and by Alice
Tyrer (Blackheath). Still
better are the stencilled
friezes and wall-decora-
tions for other methods
than paper. A wall-filling
and frieze, by John H.
Sayner (Leeds), is especi-
ally good in its strong and
unpretentious treatment of
that unwearying theme,
the rose. The design by
Margaret E. Martin (Wol-
verhampton) perhaps errs
a little on the side of
elaboration in pattern, but
contains much careful con-
struction, and in colour is
harmonious and quiet.
Stencilling, however,
seems to demand a severe
treatment of line, and
attains its charm rather by
sparse and broad figures,
allowing for the play
of a few well - chosen
tints. The same criticism