DOI Heft:
No. 60 (February, 1902)
DOI Artikel:The first international "Studio" exhibition, [2]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.22772#0312
First International “ Studio ” Exhibition
inlaid with plain white and
green tiles. There was
also a mirror-frame har-
monising in treatment with
the bureau, and showing
admirably the decorative
properties of mahogany as
it may be under a light but
firm handling and the least
possible amount of polish.
Some inlaid chairs by the
same exhibitor were
simple and shapely, and
the seats were covered in
velvet with Batik designs.
A small clock-case, the
sole exhibit of this class,
was in a light wood in-
laid, by James Rudd, with
SILVER SPOONS
interesting series of black-and-white designs for
stencilling on cards, neatly arranged and framed,
was the work of E. H. Rouse.
Furniture, as has already been explained, was
limited by considerations of space ; but
the exhibits of G. M. Ellwood sufficed
to give a fair representation of recent
cabinet-making—perhaps a little florid in
decoration, but of excellent proportions
and sound workmanship. A small music
cabinet and three boudoir tables, polished
and inlaid, made a compact and service-
able suite for needlework and afternoon
tea, the work-table having drawers and
other receptacles suited to its purpose.
The inlay was of light woods on dark
red. There was also a very good oak
table by the same designer. The name
of John Th. Uiterwyk was asso-
ciated with some very original work in
light mahogany, especially in a writing-
table conspicuous for its novel and pic-
turesque form. Without any sacrifice of
utility or comfort, the ordinary bureau-
stage had been modified in the direction
of lightness and grace, its stern rectangular
lines relieved by slender arched supports,
the larger drawers set to the left of the
writer’s knees, and the smaller ones
above the table, interspersed with pigeon-
holes and open spaces. In the same
wood were some handy little tea-tables book-cover in vellucent by h. granville fell
250
the inscription :
man can tether time nor
tide.”
The decoration of a flat surface in plaster or
gesso is one of the most fascinating forms of
panelling, and in this and kindred branches of
modelled design the exhibition had the benefit of
inlaid with plain white and
green tiles. There was
also a mirror-frame har-
monising in treatment with
the bureau, and showing
admirably the decorative
properties of mahogany as
it may be under a light but
firm handling and the least
possible amount of polish.
Some inlaid chairs by the
same exhibitor were
simple and shapely, and
the seats were covered in
velvet with Batik designs.
A small clock-case, the
sole exhibit of this class,
was in a light wood in-
laid, by James Rudd, with
SILVER SPOONS
interesting series of black-and-white designs for
stencilling on cards, neatly arranged and framed,
was the work of E. H. Rouse.
Furniture, as has already been explained, was
limited by considerations of space ; but
the exhibits of G. M. Ellwood sufficed
to give a fair representation of recent
cabinet-making—perhaps a little florid in
decoration, but of excellent proportions
and sound workmanship. A small music
cabinet and three boudoir tables, polished
and inlaid, made a compact and service-
able suite for needlework and afternoon
tea, the work-table having drawers and
other receptacles suited to its purpose.
The inlay was of light woods on dark
red. There was also a very good oak
table by the same designer. The name
of John Th. Uiterwyk was asso-
ciated with some very original work in
light mahogany, especially in a writing-
table conspicuous for its novel and pic-
turesque form. Without any sacrifice of
utility or comfort, the ordinary bureau-
stage had been modified in the direction
of lightness and grace, its stern rectangular
lines relieved by slender arched supports,
the larger drawers set to the left of the
writer’s knees, and the smaller ones
above the table, interspersed with pigeon-
holes and open spaces. In the same
wood were some handy little tea-tables book-cover in vellucent by h. granville fell
250
the inscription :
man can tether time nor
tide.”
The decoration of a flat surface in plaster or
gesso is one of the most fascinating forms of
panelling, and in this and kindred branches of
modelled design the exhibition had the benefit of