International studio (15.1901/1902(1902))

First International “ Studio" Exhibition

peacock-blue, by B. Boeykens, was decorated with
straps of the same colour, which served to roll it
up when out of use. Among the table-linen, one
of the daintiest pieces of handicraft was a tea-cloth
by Millicent Beveridge : this was on self-coloured
linen, laid out in “drawn-thread” work and then
embroidered in silks of the most delicate rose-pink,
lilac, and green—an ambitious but very successful
use of the colours. Adela Kanetzberg, the designer
of the applique leather cushion, also sent a pretty
tea-cloth in applique work on brown linen, and
there was a larger cloth by M. E. Dawson and
M. Craven, embroidered on undyed linen in a
pleasing conventional design. A similarly good
treatment of a side-board cloth in ivory silk,
embroidered with a light conventional pattern of
leaf and flower, was shown by Edith Jones.
Another good tea-cloth was of green linen, em-
broidered by Ada K. Hazell. In an embroidered
cover for The Studio magazine, Winifred M. Bur-
lingham had preserved with admirable skill the
leading features of its own cover design, which she
reproduced in purple and green silk. A small
book-cover embroidered in gilt-thread on white silk,
by Rosamund F. Pulley, illustrated the application
of needlework to bookbinding; and an example of
the almost obsolete but once so popular fashion of
pierced embroidery on white cambric was shown
by I. D. Sarg.

There were several embroidered screens repre-
senting long and conscientious labour on the part
of the designers and craftswomen. The most
important of these was by Louisa F. Pesel. A
strong but unobtrusive floral figure in applique
embroidery was the decoration of a substantial
three-folder, occupying a leading position in the
room. The others were fire-screens: one by
Augusta Winter, bright in colour and somewhat
pictorial in treatment; and one by M. E. Dawson,
a delicate and fanciful little design of rabbits con-
ferring together at sunset. This last was especially
well-mounted in an oak frame which, for beauty of
proportion and general comeliness and stability,
was itself one of the best examples of the building
of furniture.

One of the most striking features of the exhibi-
tion was the revival of an old and beautiful method
of textile decoration known as Batik. This may
be roughly described as a species of stencilling
with wax instead of with pierced metal, and yield-
ing much more delicate and varied impressions.
The wax is spread over the whole of the surface to
be treated, and then broken with the hands, so
that the colour then applied may penetrate not
only the wider cracks which produce the main lines
of the design, but also the innumerable smaller
cracks which occur in the process of opening up
the principal figure. Thus is produced a fine

GLASSSES

DESIGNED BY KOLO MOSER
EXECUTED BY BAKALOWITS AND SOHNE