DOI issue:
Nr. 102 (Septembre 1901)
DOI article:Wood, Esther: The national competition, 1901
DOI Page / Citation link: https://doi.org/10.11588/diglit.19788#0300
The National Competition
composition, all are more suited to the material The Lambeth students again distinguish them-
for which they are meant. selves in designs for colour-prints, and those of
There is still a lack of individual development in Daisy Hansford, Gertrude Steel, and Ruth Burgess
the field of black-and-white illustration. Some of deserve special praise. The fact of their charm
the best students go through a phase of imitative lying chiefly in their colour debars them from
Celticism, if we may so describe it; and on the ordinary reproduction, but the drawing in nearly
principle that we must all begin by imitating some- all is substantially good. Unfortunately, side
body or other this must not be too unkindly by side with these really delightful and work-
discouraged. The work of Allan Inglis (Dundee) manlike examples of the craft, one sees a tendency
towards colour-prints of
an inferior kind, both
prolific and slovenly, and
threatening to lower the
standard here in a manner
that should be sternly
repressed. The work of
Gertrude Steel, it should
be said, is equally admirable
in colour-print designing
and in black-and-white,
Janet Simpson, of the same
school (Lambeth), also
shows excellent feeling for
composition in black-and-
white, though her drawing
is not quite above reproach.
Near this group are seen a
very successful little series of
stencilled Christmas cards
by Florence Laverock
(Liverpool), which affords
design for a book cover by edward healey (hull) oile °^ tne ^est examples
promises to outlive these
temporary influences and
to show fine qualities of
its own, while that of
Harry Wanless (Scar-
borough) has already done
so, and his decorative
drawings and other de-
signs show a steady in-
crease of power, especially
those intended for colour
prints — a department
which gains in interest
every year. The black-
and-white studies of
Arthur G. Watts (New
Cross) show a good sense
of decorative line in land-
scape, and his sea-coast
drawings of East Anglian
character are very pleasant. tooled leather binding by william terry (camberwell)
267
composition, all are more suited to the material The Lambeth students again distinguish them-
for which they are meant. selves in designs for colour-prints, and those of
There is still a lack of individual development in Daisy Hansford, Gertrude Steel, and Ruth Burgess
the field of black-and-white illustration. Some of deserve special praise. The fact of their charm
the best students go through a phase of imitative lying chiefly in their colour debars them from
Celticism, if we may so describe it; and on the ordinary reproduction, but the drawing in nearly
principle that we must all begin by imitating some- all is substantially good. Unfortunately, side
body or other this must not be too unkindly by side with these really delightful and work-
discouraged. The work of Allan Inglis (Dundee) manlike examples of the craft, one sees a tendency
towards colour-prints of
an inferior kind, both
prolific and slovenly, and
threatening to lower the
standard here in a manner
that should be sternly
repressed. The work of
Gertrude Steel, it should
be said, is equally admirable
in colour-print designing
and in black-and-white,
Janet Simpson, of the same
school (Lambeth), also
shows excellent feeling for
composition in black-and-
white, though her drawing
is not quite above reproach.
Near this group are seen a
very successful little series of
stencilled Christmas cards
by Florence Laverock
(Liverpool), which affords
design for a book cover by edward healey (hull) oile °^ tne ^est examples
promises to outlive these
temporary influences and
to show fine qualities of
its own, while that of
Harry Wanless (Scar-
borough) has already done
so, and his decorative
drawings and other de-
signs show a steady in-
crease of power, especially
those intended for colour
prints — a department
which gains in interest
every year. The black-
and-white studies of
Arthur G. Watts (New
Cross) show a good sense
of decorative line in land-
scape, and his sea-coast
drawings of East Anglian
character are very pleasant. tooled leather binding by william terry (camberwell)
267