DOI issue:
No. 125 (July 1907)
DOI article:Studio talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.28252#0085
Studio-Talk
“the card players, castille” (Salon des Artistes Franfais, igoy) by miss m. cameron
Glasgow Institute, the Paris Salon and the Carnegie
Institute, Pittsburg.
GLASGOW.—Marine designers have not
come within the sphere of influence of
the modern movement, and, in special
cases, where an outside architect has
been called in to advise his advice has been
sought because of a reputation established along
classical lines ; in this way the claims of
modern art have gone unheeded. The difficulties
presented in marine glass work have hitherto put
aesthetic considerations out of court : vibration,
curvature, peculiarities of lighting, and other features
have monopolised attention. But the modern
artist recognises no difficulty ; with an innate adapt-
ability he can enter a new field and command
immediate success.
A visit to the studio and craft rooms of Oscar
Paterson, interesting at all times, is doubly so at
present because of the activity over a novel
process of stained glass work chiefly designed
for ship decoration. Many examples of the
noted glassworker’s new development may be
seen. The process might be termed a variation in
Venetian glass technique, by cloud like etching,
brilliant facet-cutting, engraving and enamelling.
Another new method of his—“Ivorine,” to give
it a designation — is a fluorescent glass, like
the “ uranium ” variety, flashed on one or both
sides, the effect, ornamental or pictorial, being pro-
duced by first etching with hydrofluoric acid, then
decorating by engraving and cutting, finishing, in
fact, with the lapidary’s art.
Amongst the striking examples in the new pro-
cess are the design for a curved ceiling of a ship's
smoking room — glass, mostly white, cut and en-
graved for refraction ; sides, inlay of opalescent
glass ; centre filling, glass of peculiar texture ; all
leadlines of cored steel to lessen vibration;
design for a roof-light cupola in French style with
Watteau panels, and enamelled ovals ; one
for a saloon cupola in similar style; and another
for a lounge or music-room, all white to avoid the
diminution of light—chiefly leadwork here, little
69
“the card players, castille” (Salon des Artistes Franfais, igoy) by miss m. cameron
Glasgow Institute, the Paris Salon and the Carnegie
Institute, Pittsburg.
GLASGOW.—Marine designers have not
come within the sphere of influence of
the modern movement, and, in special
cases, where an outside architect has
been called in to advise his advice has been
sought because of a reputation established along
classical lines ; in this way the claims of
modern art have gone unheeded. The difficulties
presented in marine glass work have hitherto put
aesthetic considerations out of court : vibration,
curvature, peculiarities of lighting, and other features
have monopolised attention. But the modern
artist recognises no difficulty ; with an innate adapt-
ability he can enter a new field and command
immediate success.
A visit to the studio and craft rooms of Oscar
Paterson, interesting at all times, is doubly so at
present because of the activity over a novel
process of stained glass work chiefly designed
for ship decoration. Many examples of the
noted glassworker’s new development may be
seen. The process might be termed a variation in
Venetian glass technique, by cloud like etching,
brilliant facet-cutting, engraving and enamelling.
Another new method of his—“Ivorine,” to give
it a designation — is a fluorescent glass, like
the “ uranium ” variety, flashed on one or both
sides, the effect, ornamental or pictorial, being pro-
duced by first etching with hydrofluoric acid, then
decorating by engraving and cutting, finishing, in
fact, with the lapidary’s art.
Amongst the striking examples in the new pro-
cess are the design for a curved ceiling of a ship's
smoking room — glass, mostly white, cut and en-
graved for refraction ; sides, inlay of opalescent
glass ; centre filling, glass of peculiar texture ; all
leadlines of cored steel to lessen vibration;
design for a roof-light cupola in French style with
Watteau panels, and enamelled ovals ; one
for a saloon cupola in similar style; and another
for a lounge or music-room, all white to avoid the
diminution of light—chiefly leadwork here, little
69