International studio (60.1916/1917)

The National Society of Craftsmen

Baggs and Miss Weir. Beautiful reproductions of
old Persian tiles have been made by sixteen- and
seventeen-year old students, while experiments
with the elusive old Egyptian blue glaze have pro-
duced highly decorative results. Dr. Jaeger’s
mosaics set in coloured cement, and Julia Alexan-
der’s sunproof tiles of a new composition and flat
decoration attracted much attention.
In dyeing, embroidery and weaving, America
is beginning to hold its own with the best of the
modern work abroad. The remarkably well-
blended scarves of the Noank Studio and Pro-
fessor Charles Pellew clamour for particular men-
tion as do the very individual batiks of Martha
Ryther and Bertram Hartmann, and these vie in
interest with the strongly characteristic and ex-
ceedingly decorative modern embroideries of Wil-
liam and Marguerite Zorach. One tears oneself
away from the unique rag-woven studio hangings
of Ethel Mars to view the chic smocks of Gertrude
Kuymerarge in fascinating modern colourings and
design, and the beautifully embroidered linen ones
of Zoltaine Hecht. Wool embroideries designed
by J. B. Platt and by Adelaide Willich have
started the sofa cushion on a new era of existence.
Hand weaving is an old art which has once more
come into popular favour and every branch of it
seemed to be represented from the aristocratic
tapestry to the homespun rug. A large tapestry
hanging by Mr. Renwee Karfoil represented
wounded deer, is noteworthy for its perfection
of technique and strength of colouring, but lacks
spontaneity of design which is so difficult to ob-
tain in that medium. Another interesting tapes-
try has the distinction of being designed by
Thorwald Kolomboe, the well-known Norwegian
artist, under whose personal supervision the yarns
were selected and dyed. It was woven by the
Misses Scott of the Elverhoj Craft Colony. Among
the simpler kinds of weaving there were delightful
silk scarves in soft colourings by Mrs. Griswold,
sturdy woolen ones by Grace Alexander, and rugs
of interesting texture and design by Mrs. J. A.
MacNeil and the Misses Johnson.
Dispersed here and there were many small dec-
orative objects. Trays by Mr. and Mrs. Ascher-
mann in striking designs were much in demand,
as were the lacquered metal fittings for desk and
boudoir by Mrs. J. Rosenthal. Few women were
proof against the display of hand bags which Miss
Gough, Miss Garnsey, Miss Kellogg and Miss
Hanford had conceived in unusual combinations.

In the large rear room, which was given over
particularly to a remarkable exhibition of hand-
wrought jewellery, was placed an imposing wed-
ding chest by another gifted young member,
Emily Wood Colby. The front panel represents
a scene from Hans Andersen’s “Fairy Tales,” and
held one with its pleasing freshness and charm of
execution. Two stained-glass windows from the
d’Ascensio Studio were also well placed here, one
representing St. George and the Dragon and the
other “The Evolution of the Book.” John Bacon
also contributed two interesting glass panels.
Hand-wrought jewellery is reaching great
heights in this country in the hands of a long list
of master artist-craftsmen, and development was
comprehensively illustrated in this exhibition.
A life membership to the National Art Club was
awarded to Miss Grace Hazen for proficiency in
this craft. Among her many remarkable contri-
butions was a beaten gold and black opal neck-
lace which flashed upon one ominously yet not
without a rugged hopefulness as “The Spirit of
1915.” The shifting, elusive lights in the stones
suggested turbulence and unrest, and the idea
was further worked out in the motives which held
the graduated stones. The clasp was a crown,
on either side of which were sword and sceptre,
and then the wireless and aeroplane were symbo-
lized, showing the cosmic state of unrest. Around
the great centre opal were men with cannons cross
firing, interpreting the futility as far as we can
see, but gradually we perceive a subtle interlacing
which stands for the new-knit government which
science predicts.
Lilia Whitcomb Davis contributed a charming
silver necklace set with pick tourmalins in wild-
rose pattern; Mrs. Shaw a fascinating brooch with
pale-blue sapphires set in dull silver; Mr. Dulk
a carved ivory pendant set with green gold and
blue-green tourmalins; the Clark-Ellis Studio a
carved ivory brooch with uncut topaz; Miss
Deming some very individual chains and pins
with colourful stones; and the Elverhoj Colony
many exquisite rings and pendants in which opals
of many varieties were interpreted in settings of
gold and other stones. A large case held a fine
collection of Elizabeth Copeland’s beautiful trans-
lucent enamels.
As a whole the exhibition stood for the highest
ideals in American craftsmanship as well as for a
broader comprehension of the modern spirit as
expressed in the work of the hands.

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