International studio (15.1901/1902(1902))

First International “ Studio ” Exhibition

shape, were the candlesticks by Walter Elkan,
showing certain bronze and copper mixtures which
had yielded some fresh results in surface and
colour. The brass writing-set, by Spiegel Frigyes,
in five pieces, showed the same happy imagination
and fineness of touch. The single example of a
table-lamp—by C. H. A. Coulthard—had a dis-
tinction and charm which would have ensured
attention even among many competitors. It was
of rich dark copper set with pearl; harmonious
alike in proportion, form, and colour. Among
the smaller table-ware should be mentioned the
substantial and well-wrought knife-layers by John
Th. Uiterwyk, who also sent a pair of bonbonieres,
very pleasantly shaped, in plain iridescent bronze,
with covers of enamelled silver; two remarkably
pretty little tea-caddies in copper and enamels by
De C. Lewthwaite Dewar; and by no means least,
Bernard Cuzner’s delicate and beautifully finished
silver spoons, sugar sifter, and tea-caddy in silver
and bronze. A plaque by Alexander Fisher was
a very characteristic and interesting example of
that well-known artist’s work, especially in the
decoration of the silver which formed the body
of the work. The caskets, of which there was a
good display, belong rather perhaps to
the jewellery and enamels, but may
be briefly mentioned here. Excellent
jewel caskets in wrought or hammered
metal were shown by F. G. Horrell,

Francis Pierpoint, and Theodore
Lambert; and a strong little oak
coffer by John Th. Uiterwyck was
finished with copper fittings of interest-
ing design. The Continental crafts-
men showed to great advantage in the
decorative bronzes and small metal-ware
for the smoking-room, such as the varied
and fanciful little group by Fiildp O.

Beck, and the enamelled bowl and
copper casket by Jeanne de Brouckere.

The same class of work included an
effective vase in beaten bronze by
Bessie Dawson, and a group of bronze
statuettes by Victor Rousseau and
George Morren, who also sent a fine
jug in amphore bronze. In medallions
the English metal workers held their
-own, though a clever little series of
portrait studies in bronze was sent by
Peter Breithut. For the rest, the most
original and striking was Kate S.

Andrade’s oxidised silver medallion
portrait of a child. Robert Douglas

and Charles Samuel also sent very successful
portraits in this medium.

The restoration of metal to its old place in
the windows of the dwelling-house—or rather,
shall we say, the return of stained and leaded
glass to the scheme of home decoration—has
brought a new class of designs into our arts and
crafts exhibitions, namely, for windows in which
the questions of colour and picture or pattern have
to be entirely subordinated to the question of
light. In the larger architectural tasks this does
not often become a serious factor; in churches,
of course, the “ dim religious light ” is best
conserved by rich colour and somewhat massive
and elaborate design. In the house, only the
hall, staircase, and “ fanlight ” windows allow,
to any extent, of this heavier treatment. In
towns, the difficulty is the greater when the
decoration of the window itself is intended to
be a substitute for curtains, and to serve as a
screen from the street while admitting the greatest
possible amount of light to the dwellers within.
In the recent exhibition several contributors
attacked this problem, and with very commend-
able success. The window-panes by John C.