International studio (45.1912)

Recent Designs in Domestic Architecture


the confidence of his admirers by its insistence
upon the obvious.
Whilst among the New English exhibitors there
is in general a well-observed tradition in regard to
the mere use of the pigment which shows the bulk
of the pictures to be the work in various phases of
a single school, there are among newer members
as well as among those who have established the
present reputation of the Society certain painters
with a quite personal interpretation to give both
to figure and landscape subjects. In landscape
Mr. Charles M. Gere showed this very personal
note. The exhibition was rich in good landscape
work this year. Headed by Mr. Wilson Steer’s
The Path of the Storm, there was Mr. W. W.
Russell’s The Looe River, Mr. Alfred Hayward’s
The Chateau Gaillard, Mr. W. E. Fox’s Cheyne
Walk, Chelsea, Mr. David Muirhead’s Autumn
Fields, M>r. Fred Yates’s Snow at Ry dal Water, and
Mr. Sydney Lee’s The Harbour Pier. A subject
treated with much decorative skill and charm was
Mr. J. E. Southall’s Children on the Sands, which
we are reproducing.
In portraiture Mrs. Annie L. Swynnerton’s
Portrait, an intimate piece of character-reading,
was highly representative of the technical skill of
its painter. A work which must be counted
among the successes of the exhibition was Mr. W.
G. von Glehn’s Les Nenuphars, and his portrait, The
Black Turban, was painted with much vitality. Two
women contributors, Miss
A. Fanner and Mrs. Evelyn
Cheston, especially have
come to the front this year.
As usual the section of
drawings and water-colours
contained many of the riches
of the exhibition. It must
be a long day in the history
of art since a painter has
renewed his vitality so
perennially as Mr. Sargent.
In his new style of subject
every day seems to bring him
to a more subtle expression
of sunshine. Mr. Francis
James’s flower-pieces showed
no falling off, nor did Mr.
A. W. Rich’s landscapes.
Mr. William Orpen was this
year only represented in this
section of the exhibition, but
very thoroughly all the same,
in The Dancer.

Mr. Max Beerbohm covered a large space of one
wall with witticisms, of which perhaps The Meeting
of Signor D’Annunzio and M'. Rostand revealed
his style at its best. Mr. Albert Rothenstein was
very interesting this year. Mention should be
made of the Lyme Regis and Chalk Pit by Mr.
Charles S. Cheston. Other works in various parts
of the exhibition which we should have liked space
to dwell upon are Morning, by Mr. A. C. Mitchell;
Quai Duquesne, Dieppe, by Miss Marjorie Brend;
On the Edge of the Atlantic, Cornwall, by Mr.
Louis A. Sargent; Jeanne, by Lucien Pissarro; Peace
and The Thinker, by Mr. R. J. E. Mooney; The
Clipped Horse, by Mr. Robert Bevan ; The Kitchen
Maid, by Mr. F. H. S. Shepherd; “ The Lamb,”
Wallingford, by Miss A. H. Hudson; St. David’s,
South Wales, by Mr. C. L. Colyn Thomson; Tn a
Chelsea Garden, by Miss Clare Atwood; In the
Garden, by Mr. Ronald Gray; and Bill, a draw-
ing by Mr. F. Ernest Jackson. We should also
particularly like to record Miss Gwen John’s Girl
Reading at the Window.
Recent designs in domestic
ARCHITECTURE.
Staplefield Place in Sussex oi which we
give three illustrations and plan is a successful
attempt to give the repose and comfort of the old
manor house, set amongst scenery of which it

STAPLEFIELD PLACE, SUSSEX : ENTRANCE FRONT
CLAYTON AND BLACK, ARCHITECTS

TIO