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#0138
The Arts and Crafts
enamel is far too complex to be described here.
The superb red whereon the sonnet is inscribed,
and the lustrous blues and greens of the side
panels are examples of Mr. Dawson's mastery of
the difficult material in which he works. It is a
pleasure to see how firmly both he and Mrs.
Dawson have grasped the possibilities of metal
and the right class of designs for the translucent
pigment they employ. Already South Kensington
Museum has acquired some specimens of their
skill, and it would be strange if public bodies
propriety under the latter heading, for Mr. C. R.
Ashbee has a most happy knack of setting more or
less precious stones in unexpected places, as, for
example, in the handles of ladles or spoons, the
feet of salt-cellars, the exterior of drinking cups
and the like. Although the Dish-cover here
illustrated (see page 130), may look remarkably like
the ordinary domestic variety in black and white,
in the actual object it is as far removed as any
of the articles destined to fulfil the same utili-
tarian purpose could well be. Apart from the
entrusted with commissions for testimonials to be
presented to celebrities should overlook the ad-
mirable specimens of English craft which are now
placed within their reach.
A whole number of The Studio might be
devoted to illustration and description of Mr. C.
R. Ashbee's many contributions this year. Yet,
numerous as they are, not one could be spared from
the exhibition, and they occupy but five entries in
the catalogue. This apparent contradiction is
owing to the fact that they are mostly pieces of
metal-work of small size, and more often actual
jewellery. Indeed, with a very few exceptions,
almost all might be classed with some show of
126
proportions, which are good, and the curves of
its section, and the handles, which show vivid
appreciation of the simple grace obtained by
direct treatment, its beauty is mainly of colour and
texture, and these qualities escape the photo-
grapher. But the three silver spoons, the pierced
bowl, and the five pieces of table-ware, which are
illustrated, will suffice to prove that if sober criti-
cism gave place to rhapsody it might almost be
justified. For Mr. Ashbee gains an effect of superb
richness in the right way. That is to say, he
knows when to be silent, when to let the broad
sweep of undecorated surface prepare you for the
final ornamentation which heightens the beauty of
enamel is far too complex to be described here.
The superb red whereon the sonnet is inscribed,
and the lustrous blues and greens of the side
panels are examples of Mr. Dawson's mastery of
the difficult material in which he works. It is a
pleasure to see how firmly both he and Mrs.
Dawson have grasped the possibilities of metal
and the right class of designs for the translucent
pigment they employ. Already South Kensington
Museum has acquired some specimens of their
skill, and it would be strange if public bodies
propriety under the latter heading, for Mr. C. R.
Ashbee has a most happy knack of setting more or
less precious stones in unexpected places, as, for
example, in the handles of ladles or spoons, the
feet of salt-cellars, the exterior of drinking cups
and the like. Although the Dish-cover here
illustrated (see page 130), may look remarkably like
the ordinary domestic variety in black and white,
in the actual object it is as far removed as any
of the articles destined to fulfil the same utili-
tarian purpose could well be. Apart from the
entrusted with commissions for testimonials to be
presented to celebrities should overlook the ad-
mirable specimens of English craft which are now
placed within their reach.
A whole number of The Studio might be
devoted to illustration and description of Mr. C.
R. Ashbee's many contributions this year. Yet,
numerous as they are, not one could be spared from
the exhibition, and they occupy but five entries in
the catalogue. This apparent contradiction is
owing to the fact that they are mostly pieces of
metal-work of small size, and more often actual
jewellery. Indeed, with a very few exceptions,
almost all might be classed with some show of
126
proportions, which are good, and the curves of
its section, and the handles, which show vivid
appreciation of the simple grace obtained by
direct treatment, its beauty is mainly of colour and
texture, and these qualities escape the photo-
grapher. But the three silver spoons, the pierced
bowl, and the five pieces of table-ware, which are
illustrated, will suffice to prove that if sober criti-
cism gave place to rhapsody it might almost be
justified. For Mr. Ashbee gains an effect of superb
richness in the right way. That is to say, he
knows when to be silent, when to let the broad
sweep of undecorated surface prepare you for the
final ornamentation which heightens the beauty of