DOI Heft:
No. 133 (March, 1908)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28254#0082
Studio-Talk
motor car. We give a reproduction of this
painting from a photograph placed in our hands
by the Belgian Minister in London. The size
of the painting is 3'5 metres high and 2‘8 metres
wide (about n ft. 5 in. by 9 ft. 2 in.). At the
time of the theft the church was undergoing
repair, and practically everything except this
picture had been removed. It is so well known
that the possibilities of its disposal by the thieves
without detection are extremely remote.
Mr. Ernest White, a specimen of whose pen-
and-ink drawing we reproduce below, originally
studied as an architect, first under Mr. John Slater,
and afterwards under Mr. Leonard Stokes. This
profession, however, he had to abandon owing to
ill-health; he then studied for a short time at the
Herkomer school, and since has worked in Rome
and Switzerland.
The ninth annual exhibition of the Woman’s
International Art Club was held in January at the
Royal Institute Galleries, Piccadilly. Through
a misunderstanding reference was made to this
society in connection with another gallery two
months ago. The Society contains many names
which are a guarantee of the success of their
exhibitions—Mrs. Austen-Brown, Mrs. Borough
Johnson, and Miss B. Clarke amongst others, and
these were represented to great advantage. In
recording the occurrence of the exhibition, reference
should also be made to Miss Julie Heynemann for
her portraits of Miss Muir and Miss Heriot, to
the Mother and Child of Miss Laura Knight and
The Mother of Miss Lily Defries, to the sensitive
painting, Twilight, by Miss Amy B. Atkinson, and
the quality of the painting in Miss Ethel Walker’s
interior, Playhours, also to Mrs. E. Woodroffe-
Hicks’ Summer Morning, to pictures by Misses
Maude Coleridge, Gwenny Griffiths, J. C. Hebbert,
Winifred George, Marian Robinson, E. M. Lister,
Harriet Ford, and to the Diabolo of Miss Clare
Atwood, which shows a highly trained artistic
vision, and, though so slight in character, is
a change from the market scenes in which
she repeats a first success. In the crafts section,
“the garden at gjroombridge place, rent”
62
BY ERNEST WHITE
motor car. We give a reproduction of this
painting from a photograph placed in our hands
by the Belgian Minister in London. The size
of the painting is 3'5 metres high and 2‘8 metres
wide (about n ft. 5 in. by 9 ft. 2 in.). At the
time of the theft the church was undergoing
repair, and practically everything except this
picture had been removed. It is so well known
that the possibilities of its disposal by the thieves
without detection are extremely remote.
Mr. Ernest White, a specimen of whose pen-
and-ink drawing we reproduce below, originally
studied as an architect, first under Mr. John Slater,
and afterwards under Mr. Leonard Stokes. This
profession, however, he had to abandon owing to
ill-health; he then studied for a short time at the
Herkomer school, and since has worked in Rome
and Switzerland.
The ninth annual exhibition of the Woman’s
International Art Club was held in January at the
Royal Institute Galleries, Piccadilly. Through
a misunderstanding reference was made to this
society in connection with another gallery two
months ago. The Society contains many names
which are a guarantee of the success of their
exhibitions—Mrs. Austen-Brown, Mrs. Borough
Johnson, and Miss B. Clarke amongst others, and
these were represented to great advantage. In
recording the occurrence of the exhibition, reference
should also be made to Miss Julie Heynemann for
her portraits of Miss Muir and Miss Heriot, to
the Mother and Child of Miss Laura Knight and
The Mother of Miss Lily Defries, to the sensitive
painting, Twilight, by Miss Amy B. Atkinson, and
the quality of the painting in Miss Ethel Walker’s
interior, Playhours, also to Mrs. E. Woodroffe-
Hicks’ Summer Morning, to pictures by Misses
Maude Coleridge, Gwenny Griffiths, J. C. Hebbert,
Winifred George, Marian Robinson, E. M. Lister,
Harriet Ford, and to the Diabolo of Miss Clare
Atwood, which shows a highly trained artistic
vision, and, though so slight in character, is
a change from the market scenes in which
she repeats a first success. In the crafts section,
“the garden at gjroombridge place, rent”
62
BY ERNEST WHITE