International studio (15.1901/1902(1902))

First International “ Studio ’’ Exhibition

charm; especially the plates with the peacock’s
feather decoration, in wrought copper with a
rich jewel-like enamel at the head. Alike in
colour and workmanship, in the quality of the
designs and the judgment shown in the applica-
tion of the enamel, the entire series of door-
fittings by this excellent craftsman was worthy of
high praise. There were also some good examples
in this class of work by W. H. Marklew and
Bernard Cuzner, a latch by Gustav Gurschner, a
bronze lock-plate by Helen Langley, with a very
interesting and well-balanced design springing
naturally from the centre, and a plaster model for a
door-knocker by the same hand, all showing in-
dividuality of treatment and conscientious craft.
Mirror-frames and picture-frames in metal seemed
a favourite subject. To apply any conspicuous
decoration to a picture-frame is generally to make
an unfair challenge to its contents, unless these are
decorative rather than pictorial in character, when
of course the frame may fitly be treated as part of
the whole scheme of the ground in which the
picture forms the centre of interest. In most of
the brass or copper frames here shown this

difficulty had been fully considered, and those by
Bessie Dawson, C. E. Thompson, H. Bloomfield
Bare and Professor Paul Horti—a notable ex-
hibitor in several branches—were genuine frames
for pictures; especially that of the lady first
mentioned, whose treatment of the border in brass
repousse was full of decorative feeling and im-
agination, but so well subdued as not to be dis-
tracting to the eye. A mirror allows a little more
license in this direction : the frame invites greater
variety of surface and ornament. A solid and
careful piece of work was Kate W. Thomson’s
mirror-frame in hammered block tin. Another
mirror was set in wood with a charming corner-
decoration, by R. B. Dawson, and pierced and
repousse brass. This, in the conception and
arrangement of design, was one of the most
ingenious and tasteful pieces of applied ornament.

The decorated plaque, to which the beginner in
metal-work aspires with so light a heart, is probably
one of the most difficult objects to infuse with any
aesthetic interest when once its natural use as a
plate has been forgotten in the thought of it as
something to be set upon a shelf, or at its worst, to
hang upon a wall. No
doubt the genuine crafts-
man will always insist that
a plaque is a plate still,
and that its decoration
must be kept generally
flat, even if it is to hold
only cards and letters,
and must, like all designs
for circular or frequently
shifted surfaces, be in-
teresting from different
points of view. The
plaques by Annie
Hobrough with eagle
and fish designs fulfilled
these conditions very
well. But, apart from
its tendency to become
a trophy, the plaque is
apt to merge into a bowl
on the one hand or a
tray on the other. As
pieces of decoration,
justified both in shape
and ornament, the
plaques by C. E. Thomp-
son, Arthur Whitehead,
and Kellock Brown
by b. boeykens were also extremely

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