International studio (17.1902)

Turin Exhibition

united brains working through helping hands we
owe the beauty of both.

The other half of this second salle is devoted to
embroidery, the work of Jessie R. Newbery, of
Ann Macbeth, and of their students in the Glasgow
School of Art. Daintily spotted upon the walls,
these works attract at once by the unity of their
forms and the scheme of colour common to all.
Elements such as these usually go to form a
“ school,” but mannerism is saved by individual
effort. The whole bears a certain character, but
each work differs from its neighbour. Many of
these exhibits have appeared in the pages of The
Studio ; but among works not seen before is a
bedspread by Edith Rowat (a running text about a
square, with corners of floral design) a work by
Mrs. Dekkert (both from designs by Jessie
R. Newbery), a bag by Lily Brown, from
a design by Ann Macbeth; cushion
covers by Hetty Letham; a good portiere
and a bag by Jane Younger; a table-
cloth (silk appliqu^); a portiere by
Alice Gairdner and a table square by
Margaret Leadbetter. On the floor is an
essay in a new direction, namely, an
Axminster carpet, designed by Jessie R.

Newbery and executed by the firm of
Alexander Morton & Co., of Darvel.

The third and largest room is devoted
to general exhibits, chiefly of work ex-
ecuted by past and present students of
the Glasgow School of Art; though there
are notable exceptions. The walls have
been divided into spaces by perpendicu-
lar supports from the ground to the
shelf before mentioned, and each space
has been treated as an unit. The chief
of these spaces is given over to furni-
ture, the centre of one wall containing a
sideboard in dark wood by George Logan,
while in other spaces are a silver cabinet
by Ernest Taylor and a grey screen by
George Logan—a novel treatment of
wood, silver, precious stones, and chains
of silver strung with pearls and turquoises,
the central panel containing a framed
drawing by Jessie M. King, of the
Princesses of the Red Rose; altogether a
most dainty production. Other pieces
are a grey cabinet by S. Wylie, a screen
by George Ednie, and screens and
tables by the same designers. Designed
into other spaces are drawings by Jessie
M. King. Delicate, refined, imaginative,

and brimming over with playful detail, these produc-
tions from the pen of this versatile artist give the
impression of one that lives ever in fairyland,
where princesses and knights are her daily
companions, and lines to express thoughts are as
light and airy as those of a spider’s web.

Other line drawings where purity and quality
mark the talent of the producer are those of
Dorothy C. Smyth in Ogier the Dane. These
remarkable products of the pen have attracted
much attention, and one is at a loss which to
admire the more, the charm of the expression or
the imagery of the thought. If heredity count for
anything, then Dorothy Smyth is a skald expressing
her poetry with a line where in olden days a harp
would have done service. Another very clever

SETTLE WITH LEADED GLASS DESIGNED BY J. HERBERT McNAIR

THE EMBROIDERY BY FRANCES McNAIR

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