DOI Heft:
No. 33 (December, 1895)
DOI Artikel:S., E. B.: A chat with Mr. and Mrs. Nelson Dawson on enamelling
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17295#0192
Interview with Mr. and Mrs. Nelson Dawson
base, which may be seen in the bowl purchased by
Mr. Armstrong for the above Museum.
" Here are some other pieces," Mrs. Dawson
says, bringing out some enamels in settings of
beaten copper; a beautiful memorial tablet, with
heraldic achievements in colour, upon a ground of
repousse copper, just completed for a library in
Oxford, and many other instances of the successful
application of this beautiful material.
"No," Mr. Dawson replies in answer to a
question provoked by a charming painting bearing
his signature, which is hanging on an adjacent
wall. " Neither my wife nor myself have given up
painting. Indeed, it is impossible to think of a
landscape-painter ever giving up his work entirely,
it has become too much a part of his life. No ; we
still paint and intend to do so. But of late years
I have also worked much in metal and in enamels,
as you see."
CREAM-COLOURED OPAQUE ENAMEL ON TRANSPARENT
DARK GROUND. BY EDITH AND NELSON DAWSON
But that space forbids, it would be pleasant to
illustrate and describe many other beautiful things
at The Mulberry Tree, things which are too tempt-
ing to resist, and infect you with a covetous desire
to carry them away. One longs for the patron-
princes of the Middle Ages, the ecclesiastical digni-
PANEL FOR A CASKET IN TRANSLUCENT ENAMEL
BY EDITH AND NELSON DAWSON
taries, and the rich guilds who would have placed
royal commissions in Mr. Nelson Dawson's hands.
Here is surely an opportunity for millionaires
and much less wealthy people to promote a revived
craft that is worthy of all the encouragement that
can be given. Such good craft in the hands of two
genuine artists must needs be remembered, even as
the Battersea enamels are now prized.
"Was it to be near the Battersea tradition, you
SUGGESTION IN BLACK AND WHITE FOR PANEL OF A
TRIPTYCH IN TRANSLUCENT ENAMEL
BY EDITH AND NELSON DAWSON
177
base, which may be seen in the bowl purchased by
Mr. Armstrong for the above Museum.
" Here are some other pieces," Mrs. Dawson
says, bringing out some enamels in settings of
beaten copper; a beautiful memorial tablet, with
heraldic achievements in colour, upon a ground of
repousse copper, just completed for a library in
Oxford, and many other instances of the successful
application of this beautiful material.
"No," Mr. Dawson replies in answer to a
question provoked by a charming painting bearing
his signature, which is hanging on an adjacent
wall. " Neither my wife nor myself have given up
painting. Indeed, it is impossible to think of a
landscape-painter ever giving up his work entirely,
it has become too much a part of his life. No ; we
still paint and intend to do so. But of late years
I have also worked much in metal and in enamels,
as you see."
CREAM-COLOURED OPAQUE ENAMEL ON TRANSPARENT
DARK GROUND. BY EDITH AND NELSON DAWSON
But that space forbids, it would be pleasant to
illustrate and describe many other beautiful things
at The Mulberry Tree, things which are too tempt-
ing to resist, and infect you with a covetous desire
to carry them away. One longs for the patron-
princes of the Middle Ages, the ecclesiastical digni-
PANEL FOR A CASKET IN TRANSLUCENT ENAMEL
BY EDITH AND NELSON DAWSON
taries, and the rich guilds who would have placed
royal commissions in Mr. Nelson Dawson's hands.
Here is surely an opportunity for millionaires
and much less wealthy people to promote a revived
craft that is worthy of all the encouragement that
can be given. Such good craft in the hands of two
genuine artists must needs be remembered, even as
the Battersea enamels are now prized.
"Was it to be near the Battersea tradition, you
SUGGESTION IN BLACK AND WHITE FOR PANEL OF A
TRIPTYCH IN TRANSLUCENT ENAMEL
BY EDITH AND NELSON DAWSON
177