DOI issue:
No. 57 (November, 1901)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.22772#0086
Studio-Talk
the work may be thorough, the designer is not
separated from the craftsman.
ARBROATH. — With a history of about
six centuries behind it, the conversion
of the Scottish mansion of Hospitalfield,
near Arbroath, into a School of Art
is an incident of more than usual interest. Origi-
nally attached to the Abbey of Arbroath, the estate
passed into secular hands on the suppression of the
Abbey at the Reformation, and was ultimately
(about 1656-7) acquired by a minister named
James Fraser, of the Frasers of Philorth. It
remained in the family until the marriage of an
only daughter and heiress, in 1843, to Patrick
Allan, a struggling Arbroath artist. In 1851 he
assumed his wife’s name, and is known in the
history of Scots art as Patrick Allan Fraser,
H. R.S.A., of Hospitalfield. When Mrs. Fraser’s
mother died she left all her estate to her daughter,
Mrs. Allan Fraser and husband “ and the longest
liver of them.” Mrs. Allan Fraser died in 1873,
leaving her husband sole and absolute proprietor.
There were no children of the marriage, and when,
6S
a glance. Its merit needs such close attention
as good medals invite and receive.
It happens very often that a reproduction in
black-and-white gives quite a false notion of a
stained glass window, making the leaded lines
and the distribution of light and shade far more
distinct and pictorial in their united effect than
they really are when seen in situ. This has
occurred in the panel of stained glass (page 64)
designed and executed by Mr. G. F. Gascoyne.
When this window is looked at in its appointed
place, the landscape makes against the light an
agreeable pattern of sober colours ; this unobtru-
sive effect the camera has missed, exaggerating all
the shadows and making the green of the trees
nearly as dark as the lead “canes ” outlining them.
But the workmanship is plainly seen, and that is a
point interesting to all students. Mr. Gascoyne
and his son have made a large number of landscape
panels, all different in subject, and all thought out
in relation to varying conditions both of light and
of situation. The glass employed is chosen with
good judgment; and in order that the character of
CLOCK
BY ALBERT REIMANN
(See Berlin Studio- Talk)
CLOCK
BY ALBERT REIMANN
(See Berlin Studio- Talk)
the work may be thorough, the designer is not
separated from the craftsman.
ARBROATH. — With a history of about
six centuries behind it, the conversion
of the Scottish mansion of Hospitalfield,
near Arbroath, into a School of Art
is an incident of more than usual interest. Origi-
nally attached to the Abbey of Arbroath, the estate
passed into secular hands on the suppression of the
Abbey at the Reformation, and was ultimately
(about 1656-7) acquired by a minister named
James Fraser, of the Frasers of Philorth. It
remained in the family until the marriage of an
only daughter and heiress, in 1843, to Patrick
Allan, a struggling Arbroath artist. In 1851 he
assumed his wife’s name, and is known in the
history of Scots art as Patrick Allan Fraser,
H. R.S.A., of Hospitalfield. When Mrs. Fraser’s
mother died she left all her estate to her daughter,
Mrs. Allan Fraser and husband “ and the longest
liver of them.” Mrs. Allan Fraser died in 1873,
leaving her husband sole and absolute proprietor.
There were no children of the marriage, and when,
6S
a glance. Its merit needs such close attention
as good medals invite and receive.
It happens very often that a reproduction in
black-and-white gives quite a false notion of a
stained glass window, making the leaded lines
and the distribution of light and shade far more
distinct and pictorial in their united effect than
they really are when seen in situ. This has
occurred in the panel of stained glass (page 64)
designed and executed by Mr. G. F. Gascoyne.
When this window is looked at in its appointed
place, the landscape makes against the light an
agreeable pattern of sober colours ; this unobtru-
sive effect the camera has missed, exaggerating all
the shadows and making the green of the trees
nearly as dark as the lead “canes ” outlining them.
But the workmanship is plainly seen, and that is a
point interesting to all students. Mr. Gascoyne
and his son have made a large number of landscape
panels, all different in subject, and all thought out
in relation to varying conditions both of light and
of situation. The glass employed is chosen with
good judgment; and in order that the character of
CLOCK
BY ALBERT REIMANN
(See Berlin Studio- Talk)
CLOCK
BY ALBERT REIMANN
(See Berlin Studio- Talk)