International studio (34.1908)

Studio-Talk

Monticelli, another to some other source, anywhere
rather than to their own minds, or to nature direct,
for inspiration. Into his fantasies Monticelli passed
everything of his own life; but where the great
painter ended Mr. Louis Sargent tries to begin.
We should like to discover in this painter’s art
some vision of his own in the place of this borrowed
one, and an occasional deference to nature. We
could wish exactly the same in regard to Mr. Glyn
Philpot, from whose brush we have remarked ex-
cellent results in other exhibitions. The little
group who comprise the membership of this society
would be interesting if their undoubted gifts were
animated by more genuine impulses.

The Memorial Exhibiton of works by the late
J. Buxton-Knight, at Messrs. Marchant’s, showed
how varied that painter’s range was, as regards his
methods, before he arrived at his final style. In
this respect The Hoppers, Seal Chart (exhibited at
the R. A. in 1888) was amongst the most interesting
pictures as disclosing pleasant qualities which he

afterwards abandoned in attaining that subtle form
of realism to be seen in Old December's Bareness
Everywhere, bought for the Chantrey Bequest.
This is painted in his last and best-known manner,
and in the National Collection will perhaps repre-
sent the fullest development of his powers ; yet it is
scarcely likely to communicate its secrets to the
ordinary visitor so readily, for instance, as the more
lyrical if less perfect Thor7i Tree in Floiver.
The chimney piece of which we give an illustra-
tion on this page is one among many interesting
features in the entrance hall of the new offices of
the London, Edinburgh and Glasgow Assurance
Company in Euston Square, carried out after the
designs of Prof. Beresford Pite. For the w^alls of
the entrance hall Messrs. Doulton’s Parian ware
of two tints has been employed—a primrose-yellow
and a low-toned sage-green, while the general
effect has been enriched by pleasing variations
arising in the course of firing. In the fireplace
itself the heraldic devices of the three cities form
the chief element in the decoration.
The patterns were first painted on the
surfaces and then fired on the Parian
ware.

During March the Goupil Gallery
held an exhibition of Henri le Sidaner’s
pictures of Hampton Court and London.
It is very interesting to have M. Henri
le Sidaner painting in England. The
interpretation which his brush, so used
to sunset colours, gives to grey morning
atmosphere leads us to still greater
appreciation of its resources. We could
wish that these grey subjects would
claim his whole attention for a while;
they need an interpreter so truthful,
yet whose brush carries so much light;
and they in their turn impose a reti-
cence upon his palette which increases
its distinction.

The well-known French etcher,
Eugene Bejot, held an exhibition of
proofs, entitled Paris To-day, at Messrs.
Connell & Sons’. We particularly noted
Le Quai du Louvre, The Shot Tower,
and Le Pont Neuf as amongst those
most characteristic of his style, which
is very deliberate, with architecture
straightly and almost heavily outlined.
There were some sixty etchings, and
233

CHIMNEY PIECE IN AN INSURANCE COMPANY’S OFFICES
PROF. BERESFORD PITE, F.R.I.B.A., ARCHITECT
EXECUTED IN PARIAN WARE BY THE ROYAL
DOULTON POTTERIES