DOI Heft:
Nr. 102 (Septembre 1901)
DOI Artikel:Glasgow international exhibition, [3]
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19788#0274
Glasgow Exhibition
Merton by the late William Morris,
the art may be spoken of, at least
as regards this country, in the past
tense, but in the Women's Section
there are fabrics sent from Germany
and Norway. Of these the most
important in point of size and design
is the oblong panel exhibited by
Miss Frida Hansen. Much technical
skill must have been required to pro-
duce this fine textile, the difficulty
being greatly enhanced by the fact
that the whole composition is in
a subdued tone; the figures are
carefully drawn and well grouped.
SILVER CLASP BY MISS ETHEL VIRTUE
design, although in process of execution it may
have been found necessary to depart from it widely
in many details.
The needlework exhibits are plentiful, and many
are remarkable for excellence of design and execu-
tion. Miss Anne Macbeth, a lady of many accom-
plishments, preserves all the best traditions of the
art of needlework, and her designs are well suited
for expression by the needle. Other pieces of
embroidery by Misses Leadbetter, Beveridge,
Rowat, and Mrs. Newbery, are worthy of examina-
tion on account of the qualities of the design, which
command the highest admiration for the skilful
arrangement of intricate lines, combined with
workmanship of rare excellence. Mrs. Alex. N.
Paterson also contributes panels notable for solidity
of sewing, but which could only lose in a black-
and-white reproduction.
Except for the revival of tapestry-weaving at
SUGAR BASIN BY MISS J. M. GILBERT
Miss Hansen's work is evidently influenced by
traditions of old Norwegian tapestry.
A panel in stained glass by Miss Dorothy
Smyth is shown by transmuted light in the actual
BUCKLE BY B. NELSON SILVER BROOCH BY B. NELSON BUCKLE BY B. NELSON
243
Merton by the late William Morris,
the art may be spoken of, at least
as regards this country, in the past
tense, but in the Women's Section
there are fabrics sent from Germany
and Norway. Of these the most
important in point of size and design
is the oblong panel exhibited by
Miss Frida Hansen. Much technical
skill must have been required to pro-
duce this fine textile, the difficulty
being greatly enhanced by the fact
that the whole composition is in
a subdued tone; the figures are
carefully drawn and well grouped.
SILVER CLASP BY MISS ETHEL VIRTUE
design, although in process of execution it may
have been found necessary to depart from it widely
in many details.
The needlework exhibits are plentiful, and many
are remarkable for excellence of design and execu-
tion. Miss Anne Macbeth, a lady of many accom-
plishments, preserves all the best traditions of the
art of needlework, and her designs are well suited
for expression by the needle. Other pieces of
embroidery by Misses Leadbetter, Beveridge,
Rowat, and Mrs. Newbery, are worthy of examina-
tion on account of the qualities of the design, which
command the highest admiration for the skilful
arrangement of intricate lines, combined with
workmanship of rare excellence. Mrs. Alex. N.
Paterson also contributes panels notable for solidity
of sewing, but which could only lose in a black-
and-white reproduction.
Except for the revival of tapestry-weaving at
SUGAR BASIN BY MISS J. M. GILBERT
Miss Hansen's work is evidently influenced by
traditions of old Norwegian tapestry.
A panel in stained glass by Miss Dorothy
Smyth is shown by transmuted light in the actual
BUCKLE BY B. NELSON SILVER BROOCH BY B. NELSON BUCKLE BY B. NELSON
243