DOI Heft:
Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43455#0161
Studio-Talk
BINDING OF AN ILLUMINATED MS. ON VELLUM OF “ROMEO AND JULIET.” DESIGNED BY ALBERTO SANGORSKI
AND EXECUTED BY ROBERT RIVIERE AND SON
exhibition of Mr. Wynford Dewhurst’s paintings.
We cannot think of an artist in whose art there is
such a unique combination of the qualities which
make for successful impressionism and those which
are the faults of the school at its worst. We have
in M.r. Dewhurst an artist particularly sensitive
to the charm of certain clear silvery effects of
atmosphere, with the power, at his best, of a fine
interpretation of detailed effect—as in the bluish
reflected lights in a thickly leaved dark tree
in Valley of the Creux, Heather Time. And his
work shows a very happy skill in effecting the
imitation of pools of sunlight on otherwise over-
shadowed lawns. But we have to contrast with
this in many cases a curious failure to appreciate
the weight and contours of flowers and leaves,
so that the foregrounds in many of his works
destroy all that he so successfully achieves some-
times in distance and middle-distance effects.
We reproduce the front and reverse covers of a
very sumptuously bound illuminated manuscript of
Shakespeare’s “ Romeo and Juliet.” The binding
by Messrs. Robert Riviere and Son is in pink
levant morocco, elaborately tooled and studded
with precious stones, rubies, amethysts, and pearls,
the decoration of the front cover suggesting the
“love” theme of the tragedy. The doublures and
146
fly-leaves are equally rich in design and fine in
craftsmanship. The manuscript, on prepared
vellum, is the work throughout of Alberto
Sangorski who has executed the writing, the
illumination and also the miniatures which illus-
trate and adorn the text. The whole work took
upwards of eighteen months to complete and forms
a unique and very sumptuous example of the book-
binder’s and illuminator’s art.
At Gutekunst’s an exhibition of original etchings
by M. Bauer and A. D. Van Angeren was held
last month. The Bauer section included some
new plates in the vein with which the admirers
of that eminent artist are familiar. Though Van
Angeren has a reputation abroad and some plates of
his were reproduced in our recent special number
this was the first exhibition of his work in England,
and it fully merited the large share of attention
which it attracted. Such plates as The Inner
Harbour, Ship Under Sail and Along the Wharj
may without exaggeration be called masterpieces,
while other plates of significance were Hamburg-
America Liner “ Rotterdam ” ; The River Maas at
Night] On the River; The Mill and Rotterdam
and the Maas. Here and there, as in some of
the river pieces, the artist’s touch is a little heavy,
but at other times he gains the required looseness
BINDING OF AN ILLUMINATED MS. ON VELLUM OF “ROMEO AND JULIET.” DESIGNED BY ALBERTO SANGORSKI
AND EXECUTED BY ROBERT RIVIERE AND SON
exhibition of Mr. Wynford Dewhurst’s paintings.
We cannot think of an artist in whose art there is
such a unique combination of the qualities which
make for successful impressionism and those which
are the faults of the school at its worst. We have
in M.r. Dewhurst an artist particularly sensitive
to the charm of certain clear silvery effects of
atmosphere, with the power, at his best, of a fine
interpretation of detailed effect—as in the bluish
reflected lights in a thickly leaved dark tree
in Valley of the Creux, Heather Time. And his
work shows a very happy skill in effecting the
imitation of pools of sunlight on otherwise over-
shadowed lawns. But we have to contrast with
this in many cases a curious failure to appreciate
the weight and contours of flowers and leaves,
so that the foregrounds in many of his works
destroy all that he so successfully achieves some-
times in distance and middle-distance effects.
We reproduce the front and reverse covers of a
very sumptuously bound illuminated manuscript of
Shakespeare’s “ Romeo and Juliet.” The binding
by Messrs. Robert Riviere and Son is in pink
levant morocco, elaborately tooled and studded
with precious stones, rubies, amethysts, and pearls,
the decoration of the front cover suggesting the
“love” theme of the tragedy. The doublures and
146
fly-leaves are equally rich in design and fine in
craftsmanship. The manuscript, on prepared
vellum, is the work throughout of Alberto
Sangorski who has executed the writing, the
illumination and also the miniatures which illus-
trate and adorn the text. The whole work took
upwards of eighteen months to complete and forms
a unique and very sumptuous example of the book-
binder’s and illuminator’s art.
At Gutekunst’s an exhibition of original etchings
by M. Bauer and A. D. Van Angeren was held
last month. The Bauer section included some
new plates in the vein with which the admirers
of that eminent artist are familiar. Though Van
Angeren has a reputation abroad and some plates of
his were reproduced in our recent special number
this was the first exhibition of his work in England,
and it fully merited the large share of attention
which it attracted. Such plates as The Inner
Harbour, Ship Under Sail and Along the Wharj
may without exaggeration be called masterpieces,
while other plates of significance were Hamburg-
America Liner “ Rotterdam ” ; The River Maas at
Night] On the River; The Mill and Rotterdam
and the Maas. Here and there, as in some of
the river pieces, the artist’s touch is a little heavy,
but at other times he gains the required looseness