DOI issue:
No. 114 (September, 1902)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.19876#0305
Studio- Talk
tion, which are really beautiful, both in design and
execution. Sigmund Jaray remains ' faithful to
Vienna, Barock, and old Vienna traditions, for the
execution of which he is so well known in Austria.
In the objets d'art in leather, bronzes, glass,
metal, etc., there is much to say and much to be
learnt. Vienna has always been celebrated, and
deservedly so, for leather work, and there can
be no doubt as to the advantage gained by
employing young and rising talent to design it.
The only exhibitor of this art is B. Buchwald
(Vienna), his designers being V. Schonthaler,
C. Philipp, Otto Prutscher, E. Puchinger, and
others. The bronze lamps for electric light by
Gurschner show great originality in conception
and realisation, as do also his bronze bell-pulls.
The glass exhibited by Bakalowits and Lobmeyr,
designed by various aitists, is already too well
known to need mention here.
In the sculpture shown by Kompatscher-Winder
(Bozen, Tyrol) we have something at once unique
and remarkable. The material is Laas marble,
carved and executed most beautifully, a weird
effect being gained by the opal eyes of the dragons.
Carl Waschmann's (Vienna) various sculptures in
silver and bronze are not strictly modern, though
there can be no doubt as to the beauty of their
workmanship ; and Robert Weigl's bronzes, and
particularly his Beethoven, are worthy of mention.
There can be no two opinions as to the value
and excellence of the work done at the Imperial-
Royal Industrial Schools, of which there are so
many scattered about the Austrian dominions.
We have good examples of their lace, embroidery,
wood - carving, basket - weaving, ceramic, textile,
and other art industries ; and as the training in
designing at these schools is sound and good, we
may look forward with pleasant anticipation to
Austria's further development in this direction.
Mr. Frederick Goodall, R.A., in his recently
published Reminiscences, tells a good story of
Ruskin and Rosa Bonheur, and it is worth re-
peating here because it is in striking contrast
with the reproduction we give of a boldly handled
sketch by the author of "Modern Painters.'
Ruskin, in a conversation with Rosa Bonheur,
wished to know why she did not paint in water-
colours ; " for if you did," said he, " you could,
with a fine sable brush, put in every hair of your
studies." Rosa replied that it would be impossible
CASKET PRESENTED TO LORD ROBERTS BY THE MERCHANT TAYLORS' COMPANY
(From a photograph by Augustus Littleton, Esq.)
BY GEORGE FRAMPTON, R A.
293
tion, which are really beautiful, both in design and
execution. Sigmund Jaray remains ' faithful to
Vienna, Barock, and old Vienna traditions, for the
execution of which he is so well known in Austria.
In the objets d'art in leather, bronzes, glass,
metal, etc., there is much to say and much to be
learnt. Vienna has always been celebrated, and
deservedly so, for leather work, and there can
be no doubt as to the advantage gained by
employing young and rising talent to design it.
The only exhibitor of this art is B. Buchwald
(Vienna), his designers being V. Schonthaler,
C. Philipp, Otto Prutscher, E. Puchinger, and
others. The bronze lamps for electric light by
Gurschner show great originality in conception
and realisation, as do also his bronze bell-pulls.
The glass exhibited by Bakalowits and Lobmeyr,
designed by various aitists, is already too well
known to need mention here.
In the sculpture shown by Kompatscher-Winder
(Bozen, Tyrol) we have something at once unique
and remarkable. The material is Laas marble,
carved and executed most beautifully, a weird
effect being gained by the opal eyes of the dragons.
Carl Waschmann's (Vienna) various sculptures in
silver and bronze are not strictly modern, though
there can be no doubt as to the beauty of their
workmanship ; and Robert Weigl's bronzes, and
particularly his Beethoven, are worthy of mention.
There can be no two opinions as to the value
and excellence of the work done at the Imperial-
Royal Industrial Schools, of which there are so
many scattered about the Austrian dominions.
We have good examples of their lace, embroidery,
wood - carving, basket - weaving, ceramic, textile,
and other art industries ; and as the training in
designing at these schools is sound and good, we
may look forward with pleasant anticipation to
Austria's further development in this direction.
Mr. Frederick Goodall, R.A., in his recently
published Reminiscences, tells a good story of
Ruskin and Rosa Bonheur, and it is worth re-
peating here because it is in striking contrast
with the reproduction we give of a boldly handled
sketch by the author of "Modern Painters.'
Ruskin, in a conversation with Rosa Bonheur,
wished to know why she did not paint in water-
colours ; " for if you did," said he, " you could,
with a fine sable brush, put in every hair of your
studies." Rosa replied that it would be impossible
CASKET PRESENTED TO LORD ROBERTS BY THE MERCHANT TAYLORS' COMPANY
(From a photograph by Augustus Littleton, Esq.)
BY GEORGE FRAMPTON, R A.
293