DOI Heft:
Nr. 78 (Septembre 1899)
DOI Artikel:Wood, Esther: The national competition at South Kensington, 1899
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19232#0288
The National Competition
and luminous in colour, the
design fully conveys the
ceremonious leisure and
dignity of the subject.
The last of Miss Hous-
ton’s exhibits is a set of
embossed and tooled
leathers for the binding of
Rossetti’s Hand and Soul.
The design is quiet and
restful in treatment and full
of poetic charm. It is
pleasing to find students
of such technical ability as
Miss Houston and Miss
Keighly selecting themes
from the best and least
hackneyed literary sources.
Returning to the model-
led designs, the little plaster
panel by Henry J. Strutt,
of Westminster, strikes us DESIGN FOR WALL TILES BY JOHN w' SHERRATT (Macclesfield)
more favourably than some
of the more ambitious pieces. It shows a group and beautiful a decoration; as Mr. Frampton
of seated figures, with foliage of the plant known as himself has shown us in one of his best-known
“honesty” or “harmony,” which makes so unique designs. A model for the binding of Old English
Ballads, by David H.
Hodge, of Plymouth, is
marred by the somewhat
curled, contorted aspect of
the figure.
In the plaster studies for
architectural decoration, a
ragged sketchiness com-
plained of by the examiners
is certainly noticeable. It
is difficult to identify the
birds in the friezes sent
by Eleanor B. Satchwell
and Gertrude M. Haswell,
of Birmingham ; and such
students are hardly yet
strong enough to create a
conventional bird of their
own, as one or two of our
arts and crafts leaders may
possibly claim to have done.
There is also a curious want
of proportion in some of
the designs, as, for instance,
in a frieze from Birming-
ham representing a cat
chasing mice, in which the
design for a lace d’oyley by lydia c. hammett (Taunton) victims are fully half as large
254
and luminous in colour, the
design fully conveys the
ceremonious leisure and
dignity of the subject.
The last of Miss Hous-
ton’s exhibits is a set of
embossed and tooled
leathers for the binding of
Rossetti’s Hand and Soul.
The design is quiet and
restful in treatment and full
of poetic charm. It is
pleasing to find students
of such technical ability as
Miss Houston and Miss
Keighly selecting themes
from the best and least
hackneyed literary sources.
Returning to the model-
led designs, the little plaster
panel by Henry J. Strutt,
of Westminster, strikes us DESIGN FOR WALL TILES BY JOHN w' SHERRATT (Macclesfield)
more favourably than some
of the more ambitious pieces. It shows a group and beautiful a decoration; as Mr. Frampton
of seated figures, with foliage of the plant known as himself has shown us in one of his best-known
“honesty” or “harmony,” which makes so unique designs. A model for the binding of Old English
Ballads, by David H.
Hodge, of Plymouth, is
marred by the somewhat
curled, contorted aspect of
the figure.
In the plaster studies for
architectural decoration, a
ragged sketchiness com-
plained of by the examiners
is certainly noticeable. It
is difficult to identify the
birds in the friezes sent
by Eleanor B. Satchwell
and Gertrude M. Haswell,
of Birmingham ; and such
students are hardly yet
strong enough to create a
conventional bird of their
own, as one or two of our
arts and crafts leaders may
possibly claim to have done.
There is also a curious want
of proportion in some of
the designs, as, for instance,
in a frieze from Birming-
ham representing a cat
chasing mice, in which the
design for a lace d’oyley by lydia c. hammett (Taunton) victims are fully half as large
254