International studio (56.1915)

Studio-Talk

few other “ moderns ” who have been received
into the fold. Mr. Philpot has nothing in the
present exhibition of the Academy, nor is he repre-
sented at the International Society’s Exhibition ;
he was one of the first members of the profession
to respond to the call of the country for men, and
no doubt his military duties have left him little or
no time to pursue his vocation as a painter. We
reproduce here a painting of his which figured in
the National Portrait Society’s Third Annual
Exhibition at the Grosvenor Gallery twelve months
ago, and thus with the reproduction of works by
Mr. Bundy and Mr. Hartwell elsewhere all the
three new Associates are represented by illustrations
in this number.

The water-colour Dunster which we illustrate was
exhibited recently at the Royal Institute of Painters
in Water Colours. The artist, Mr.W. Egginton, was
born in Birmingham but has now made his home in
the west country, and as a young man, still in the
thirties, should do some good work in water-colours.
In this medium he is a follower of the traditions of
the Old English School; he works mostly in the
open, delighting especially in sky effects.
Mr. Egginton first exhibited in London
in 1911 and was elected member of the
Royal Institute in 1913.

Mr. John Adams, three examples of
whose ceramic work are here given,
was formerly a teacher of Design at
Hanley School of Art, and designe
tiles and architectural faience for
Staffordshire manufactures, and painted
exhibition vases for Mr. Bernard Moore
that were awarded gold medals at the
Brussels and Turin exhibitions. In
1910 he came to South Kensington and
at present is temporary Instructor in
pottery at the Royal College of Art.
In the summer of 1912, with other
students of the College, Mr. Adams
assisted for four months in the decora-
tion of the Palace of Peace at The
Hague, and the following summer in
the production of a Pageant at The
Hague to commemorate the centenary
of the return of the House of Orange
to the Dutch Throne. In 1914 he
helped to execute the velarium which
was hung over the exhibition of British
Arts and Crafts at the Pavilion de
Marsan in Paris. Examples of Mr.
52

Adams’ work have been acquired by Sir George
Frampton and Professor Selwyn Image.
The war is, perhaps, too near to us for our
artists to be able to regard it in a true perspective,
and there is a tendency to fall into sentimentality
or theatricalness in treating themes which we cannot
brook to have so handled. In his exhibition of
War Pictures at the Grafton Galleries, Mr. Dudley
Hardy has certainly not fallen into either of these
pitfalls, and with all his familiar dexterity of touch
he has shown us certain side aspects of the great
conflict in a manner not unworthy of its seriousness.
While, however, we can commend such works as
The Harvest of the Sea, igij, in which, instead of
the haul of fish of peaceful days, the nets have
brought up one of those terrible mines in which
lurks a new terror for those who go down to the
sea in ships, or the admirable pastel of a hospital
ship, Homeward Bound, Christmas 1914, the
pictures which showed this artist at his best in this
exhibition were some having no connection with the
war, such as the breezy seascape The Port, the
little water colour The Daily Task, The Bridge, The


CERAMIC FIGURE IN GLAZED FAIENCE. BY JOHN ADAMS, A.R.C.A.