International studio (36.1908/1909(1909))

scapes were uncquat in quaiity : they gave witness
to the painter who can succeed or fail in daring
attempts with the brush. It was also most instruc-
tive to study modern stili life here in a seiect
coiiection of such works.

Great activity reigns in the domain of applied
art. The Konigiiche Kunstgewerbe Museum has
been deiighting connoisseurs with an English ex-
hibition of modern books, writings and itiumina-
tions, and modern handwrought jeweliery, quite
personal works of some distrnguished craftsmen.
Bibiiophiiic rarities are already produced in Ger-
many, but the reform movement started in England,
and we were grateful to be allowed to see new
achievements by worthy followers of Morris. The
metal-works, brooches, necklets and pendants


TRAY WtTH BATtK DECORATtON BY ALBERT REIMANN

showed that a group of very individual English
workers are keeping in touch with best traditions
and yet far from mere imitation.

The demand for artistically exe-
cuted visiting-cards is another
symptom of increasing resthetic
requirements in Germany. It was
most interesting to study the exhi-
bition prepared at Amsler and
Ruthardt's, which consisted of the
550 original designs sent in for the
prize competition arranged by the
Leipzic Buchgewerbe-Verein. One
could not quite agree with the
awards' of first prizes for cards for
the, Crown Princess Cecilie or the
Princess Johann Georg of Saxe,
but there was much admirable
work from renowned painters,
lithographers, etchers, typograph-
316

ical designers, and caligraphists. Quite a gallery
of miniatures was displayed; extravagances of
imagination found vent in real orgies in allegory
and symbolism, but wit and humour also were not
absent. Careful comparisons could only decide
in favour of reserve and simplicity, although the
graces of Rococo and Empire times were equalled
by modern artists. Clear and 6ne lettering and
superior paper seem crowning virtues of an up-to-
date visiting-card; to announce beforehand one's
personality by any sort of emblem of self-revelation
or self recommendation would certainly seem to
imply a lack of tact, however admissible such
devices may be for business purposes.
With the advent of Chtistmas came two impor-
tant doll exhibitions. In Tietz's sale rooms hrst
and then in the Hohenzollern Kunstgewerbe-Haus
of Messrs. Friedmann and Weber, historical reviews
were held that again broughtsuccess to the dolls of
the jz'arA and of the eatly nineteenth
century. But the doll appeared also in the
cbaracter of the marionette, the crib hgure, the
automat, the tea cosy, and the preserver of old
peasant dresses. There wTts also the quite
individual modern doll, and these miniature repeti-
tions of babies and people who live atound us
attracted particular attention. Naturalism is some-
timestoo radical in this domain; it mustnotbe
forgotten that dolls are pre-eminently toys, that
they have to delight, not to frighten, our little
people. In the section of plastic caricatures at
Friedmann and Weber's a group of Berlin
humorous draughtsmen stood out conspicuously
with designs for ginger-cakes, whilst the ceramic


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BOX WITH BATIK DECORATIO'J

BY ALBERT REIMANN