Studio: international art (20.1900)

The National Competition, 1900

breaks fresh ground in the application of design load the champion's board. It is a handsome
in a modern spirit to familiar furniture. The and well-proportioned vessel decorated with a bold
decoration is slight but sufficient, and aptly dis- design of fishes. Exceptionally promising as the
posed. It is intended for reproduction by the New Cross students are, it must not be thought
electro process. The designs for
jewellery and enamels from this
school are again distinguished for
beauty and simplicity of form and
purity of colour. Those by Kate
Allen and Isabel McBean are
especially good. The latter also
shows an interesting series of
studies for church metal work
and electric lamps. Her chalice
and paten for enamelled gold
take rank with the similarly
choice and rich designs by Agnes
Kershaw (Sheffield) for an altar
crucifix, triptych, and holy water
stoup in enamelled silver. These
objects, if they fulfil the promise
of the working drawings, need
not fear comparison with some
of the best contemporary work
in ecclesiastical enamels. To
return to more secular ornaments,
Maud Avery's silver fishing-
trophy deserves notice as a
refreshing departure from the
stereotyped and tasteless kind
of cups and vases that so often design for a stained-glass window by may cooksey

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