International studio (15.1901/1902(1902))

First International “ Studio " Exhibition

hibitor and Isabella E. Brown completed this
section. The only attempts at colour-printing
were Ethel Kirkpatrick’s three dainty little
impressions from the wood block.

The collection of pottery and glass, which formed
several important groups, represented some of the
best modern work in this direction. The bulk of the
fine glassware shown by Professor Kolo Moser and
Messrs. E. Bakalowits and Sohne seemed, indeed,

“ —All too bright and good

For human nature’s daily food.”

Yet if we admit the principle of the edition de luxe
in bookbindings, there seems no reason for reject-
ing it in the service of the table. This granted,
contemporary handicraft has given us nothing more
exquisite of their kind than these vases and drink-
ing vessels, mounted in many instances in silver
holders which a rare gift of decorative invention
had wedded perfectly to their fragile contents.
Whether in plain glass of- the simplest modelling,
or in iridescent colours and fanciful forms, a rare
grace and shapeliness characterised all these
exhibits. Among them may be mentioned the
ingenious little vase set in a light outline-frame of
silver in the semblance of an owl, and another

ENAMELLED PLAQUE BY LILY DAY

cunningly devised in the figure of a rose, the
restrained treatment of the metal giving the utmost
value to the pearly blue and green of the glass.
The convenient shape of some of the small table-
holders for short-stalked flowers was
very welcome; for who does not
know the torments of trying to fix
half-a-dozen top-heavy roses in an
ordinary bowl or jug ?

In the pottery and stoneware a
large yellow vase, by the Amstel
Hoek Company, was very pleasant,
being well-proportioned, of pure and
soft colour, and decorated with a
quaint and pretty design of ante-
lopes running round the neck of the
bowl. The well-known and beautiful
decorative pottery of William de
Morgan was represented by a number
of handsome pieces in lustre and in
Persian colouring. Some of Messrs.
Doulton’s designers—notably Mar-
garet E. Thompson, F. C. Pope,
Elise Simmance, and M. V. Marshall
—made a highly creditable and in-
teresting show. The first-named
was especially successful in her use
of the human figure in flat decoration
on some tall and shapely Faience
vases finished in smooth glaze. In
a vase by F. C. Pope the human
subject was ingeniously used for
a modelled decoration instead of