DOI issue:
Nr. 157 (March 1910)
DOI article:Whitley, William Thomas: The Arts and Crafts Society's exhibition at the New Gallery, [1]
DOI Page / Citation link: https://doi.org/10.11588/diglit.19866#0062
The Arts and Crafts Society's Exhibition
exquisite art that consummated in the fifteenth
century and faded away with the development of
printing, Mr. Graily Hewitt is the leader. His
manuscripts include Rossetti's Staff and Scrip,
written in gold and blue, the Ode to a Nightingale
of Keats, and Sir Walter Raleigh's Account of the
Last Fight of the Revenge, each in its way a sur-
prising example of calligraphy, but no more so
than the transcription in gold—a miracle of exact-
ness—of the address given by Mr. Selwyn Image
last year to the members of the Art Workers'
Guild. Mrs. Florence Kingsford Cockerell, who
in several manuscripts has collaborated with Mr.
Hewitt, shows some delightful work in the Hymn
to the Sun by Aken-Aten, King of Egypt; Miss
Jessie Bayes shows an elaborate and highly
wrought Communion Service (January No., page
304), and a dainty Lady of Shalott. Nor should
the decorated borders be overlooked that Mr.
Allen F. Vigers has added to certain printed
books from the Chiswick Press. The bookcovers
at the New Gallery show with few exceptions a
welcome freedom from undue ornament, and seem
to have generally a more readable air than most
of the luxurious volumes that figure in the
showcases of exhibitions. Mr. T. J. Cobden-
Sanderson, Miss Katherine Adams, Messrs. W.
H. Smith & Son, Mr. Henry Blaauw, and Miss
china bowls designed by thackeray turner
executed by charles ford
kind that people of ordinary good
taste would like to live with. With
one or two exceptions there is nothing
blatant, nothing actually ugly. But
if there are few eccentricities so also
there are few works of outstanding
merit, and there is nothing in any
class of the exhibition that seems
likely to inspire a new departure in
design.
It is in the South Room that some
of the most interesting work must be
sought for. Here, in glass cases and
on the walls newly draped with white,
are displayed the examples of calli-
graphy and illumination that represent
the outcome of the movement in-
spired by the few pages shown by
William Morris at the first exhibition
in 1888. The Society has every
reason to be proud of this portion
of its exhibition of those whose work mqrse m goldj silver> enameli sapphires and moonstones
here testifies to the revival of the designed and executed by Alexander fisher
37
exquisite art that consummated in the fifteenth
century and faded away with the development of
printing, Mr. Graily Hewitt is the leader. His
manuscripts include Rossetti's Staff and Scrip,
written in gold and blue, the Ode to a Nightingale
of Keats, and Sir Walter Raleigh's Account of the
Last Fight of the Revenge, each in its way a sur-
prising example of calligraphy, but no more so
than the transcription in gold—a miracle of exact-
ness—of the address given by Mr. Selwyn Image
last year to the members of the Art Workers'
Guild. Mrs. Florence Kingsford Cockerell, who
in several manuscripts has collaborated with Mr.
Hewitt, shows some delightful work in the Hymn
to the Sun by Aken-Aten, King of Egypt; Miss
Jessie Bayes shows an elaborate and highly
wrought Communion Service (January No., page
304), and a dainty Lady of Shalott. Nor should
the decorated borders be overlooked that Mr.
Allen F. Vigers has added to certain printed
books from the Chiswick Press. The bookcovers
at the New Gallery show with few exceptions a
welcome freedom from undue ornament, and seem
to have generally a more readable air than most
of the luxurious volumes that figure in the
showcases of exhibitions. Mr. T. J. Cobden-
Sanderson, Miss Katherine Adams, Messrs. W.
H. Smith & Son, Mr. Henry Blaauw, and Miss
china bowls designed by thackeray turner
executed by charles ford
kind that people of ordinary good
taste would like to live with. With
one or two exceptions there is nothing
blatant, nothing actually ugly. But
if there are few eccentricities so also
there are few works of outstanding
merit, and there is nothing in any
class of the exhibition that seems
likely to inspire a new departure in
design.
It is in the South Room that some
of the most interesting work must be
sought for. Here, in glass cases and
on the walls newly draped with white,
are displayed the examples of calli-
graphy and illumination that represent
the outcome of the movement in-
spired by the few pages shown by
William Morris at the first exhibition
in 1888. The Society has every
reason to be proud of this portion
of its exhibition of those whose work mqrse m goldj silver> enameli sapphires and moonstones
here testifies to the revival of the designed and executed by Alexander fisher
37