DOI Heft:
Nr. 44 (November 1896)
DOI Artikel:The Arts and Crafts Exhibition, 1896 (second notice)
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17298#0132
The Arts and Crafts
to amuse the mad King Charles, repre-
sented actual people; and as their use
spread many deviations from the original
models found acceptance. But for a long
time past all attempts to modify the
quaint creatures emblazoned upon the
court-cards have proved abortive. Mr.
Anning Bell in his designs has been sin-
gularly careful to avoid too radical
changes, and from a distance his charm-
ing conceits might be mistaken for the
orthodox devices. But as you study each
one, not merely do you find graceful
figures have replaced the archaic royalties
who have reigned so long, but that a
wealth of pleasant fancy has been lavished
upon the details of their costumes. The
designs are an excellent example of
originality fettered by very strict limits,
and in their way obvious illustrations of
the difference between true originality
and false. It is a sweeping charge often
brought against the Arts and Crafts, that
its designers are all imitative; here is a
crucial test. Mr. Bell has confessedly
imitated the ordinary pack of cards, and
yet his designs differ from their prototypes
in every quality essential and non-essen-
tial, except the primal factor of utility,
hammered silver plaque designed by sir e. burne-jones .....
executed by r. catterson smith whlch'm thls stance, is concerned with
the broad effect of the pattern, so that its
main features shall appear familiar to a
which imitate the woodcuts of old German masters, player, and its real novelty be only discerned after
As a piece of fine press-work the volume is notable, careful inspection.
and the good taste which marks every detail of its A portion of a frieze, designed and executed by
production is not jeopardised by the few items the professor and students of the Municipal School
which are open to criticism. of Art, Liverpool, is full of beautiful work; yet the
Nothing, so far, has been more rigidly conserva- " swags," both in scale and colour, seems to mar
tive than the taste of card-players. In early days its perfection. The figures are excellently placed,
the faces of the paste-boards Gringonneur devised and full of that curious distinction which Mr.
portion of a frieze
designed and executed by r. anning bell and students of the liverpool municipal school of art
to amuse the mad King Charles, repre-
sented actual people; and as their use
spread many deviations from the original
models found acceptance. But for a long
time past all attempts to modify the
quaint creatures emblazoned upon the
court-cards have proved abortive. Mr.
Anning Bell in his designs has been sin-
gularly careful to avoid too radical
changes, and from a distance his charm-
ing conceits might be mistaken for the
orthodox devices. But as you study each
one, not merely do you find graceful
figures have replaced the archaic royalties
who have reigned so long, but that a
wealth of pleasant fancy has been lavished
upon the details of their costumes. The
designs are an excellent example of
originality fettered by very strict limits,
and in their way obvious illustrations of
the difference between true originality
and false. It is a sweeping charge often
brought against the Arts and Crafts, that
its designers are all imitative; here is a
crucial test. Mr. Bell has confessedly
imitated the ordinary pack of cards, and
yet his designs differ from their prototypes
in every quality essential and non-essen-
tial, except the primal factor of utility,
hammered silver plaque designed by sir e. burne-jones .....
executed by r. catterson smith whlch'm thls stance, is concerned with
the broad effect of the pattern, so that its
main features shall appear familiar to a
which imitate the woodcuts of old German masters, player, and its real novelty be only discerned after
As a piece of fine press-work the volume is notable, careful inspection.
and the good taste which marks every detail of its A portion of a frieze, designed and executed by
production is not jeopardised by the few items the professor and students of the Municipal School
which are open to criticism. of Art, Liverpool, is full of beautiful work; yet the
Nothing, so far, has been more rigidly conserva- " swags," both in scale and colour, seems to mar
tive than the taste of card-players. In early days its perfection. The figures are excellently placed,
the faces of the paste-boards Gringonneur devised and full of that curious distinction which Mr.
portion of a frieze
designed and executed by r. anning bell and students of the liverpool municipal school of art