Studio: international art (17.1899)

The National Competition

DESIGN FOR TAPESTRY

BY Hilda M. PEMBERTON (New Cross)

Kate Allen and Edith J. Pickett are in excellent
taste. Three other competitors, Bernard L. Cuzner,
Harry B. Norris, and Alfred H. Jones, all of
Birmingham, must also receive honourable men-
tion in this field. Two brooches in a “ship”
design by B. Cuzner are
especially charming, and
the designs of these three
students for gold, silver,
and copper enamels are
among the best things of
the year.

A small drawing-room
mirror in silver, jade, and
amber is designed and
modelled by Louisa M.

Henman, of Croydon. Its
structure is very shapely
and agreeable, and the
unconventional blending of
the three materials is quite
a success. There is ex-
cellent modelling in the
lithe little figure which
supports the glass.

The only important de-
sign for iron-work is in a

set of gates and railings
by George E. Kruger, of
Bath, which in general
effect is decidedly good,
though a little thin and
liney in places. There is,
however, some highly-
wrought and handsome
iron-work in the cover of a
font, of Irish-green marble,
with bronze panels, de-
signed by Pickford Mar-
riott, of South Kensington.
This is the best of the few
attempts in ecclesiastical
design, and it is a serious
and worthy conception, of
which the practical draw-
ings are fully and consci-
entiously done.

In the larger kinds of
furniture, the most novel
and original departure
from stock subjects is a
design for a garden seat.
This useful and despised
object, so long identified
with flat iron laths, always at the wrong part of
one’s back, is now presented to us as a handsome
and comfortable settle, either in white marble or
hard grey sandstone—a suggestion due to Allan
Inglis, of Dundee. The back and ends of the seat,

DESIGN FOR DAMASK TABLE-CLOTH BY MARY D. BAXTER (Clapham)

26l