DOI issue:
Nr. 117 (December 1902)
DOI article:[Studio-talk]
DOI Page / Citation link:https://doi.org/10.11588/diglit.19877#0223
Studio- Talk
the work having grown so arduous, it was found
necessary to appoint a permanent director, and a
.year later Mr. Herbert J. Maryon succeeded Mr.
Harold Stabler to that post. About the same time
some of the more skilful workers were induced to
devote their whole time to the work instead of, as
formerly, attending only in the evening. The steady
progress made during the last few years is shown
both by the improvement in design and craftsmanship
and by the greater variety of the work undertaken.
All metals, including gold and silver, are used; the
methods of treatment varying from simple repousse
HAMMERKU SILVER CHALLENGE CUP, SET
WITH CHRYSOPRASE. DESIGNED BY C. R.
ASIIBEE. EXECUTED BY J. BAILEY
(See London Studio- Talk j
SILVER CUP DESIGNED BY H. J. MARYON
EXECUTED BY R. TEMPLE
to beaten hollow ware, silversmith's work and the
finer crafts of jewellery and enamelling; other
branches are woodcarving and smithing.
From the illustrations of examples of Mr.
Maryon's design, here shown, it will be seen that
he aims at simplicity of form with great reserve
in the application of ornament. A. E. S.
BANGOR.—At the National Eisteddfod
held in Wales annually it is the custom
to present a chair and a crown to
the successful bards. The designs in
previous Eisteddfods have been of the poorest
description. In connection with the Eisteddfod
held in September in Bangor, the executive com-
mittee ventured to strike out a new line.
The bardic chair, illustrated on page 213, was
designed and made by Mr. Robert H ilton. 1 he chair
is of oak, wax polished dull. The ornaments and
finials are of copper and translucent enamel; the
back of the seat is of cowhide, fastened with copper
studs ; the rail in front contains a bronzed copper
panel of a dragon. The symbolism is Druidical
Celtic. On the back is the cauldron of Ceridwen,
211
the work having grown so arduous, it was found
necessary to appoint a permanent director, and a
.year later Mr. Herbert J. Maryon succeeded Mr.
Harold Stabler to that post. About the same time
some of the more skilful workers were induced to
devote their whole time to the work instead of, as
formerly, attending only in the evening. The steady
progress made during the last few years is shown
both by the improvement in design and craftsmanship
and by the greater variety of the work undertaken.
All metals, including gold and silver, are used; the
methods of treatment varying from simple repousse
HAMMERKU SILVER CHALLENGE CUP, SET
WITH CHRYSOPRASE. DESIGNED BY C. R.
ASIIBEE. EXECUTED BY J. BAILEY
(See London Studio- Talk j
SILVER CUP DESIGNED BY H. J. MARYON
EXECUTED BY R. TEMPLE
to beaten hollow ware, silversmith's work and the
finer crafts of jewellery and enamelling; other
branches are woodcarving and smithing.
From the illustrations of examples of Mr.
Maryon's design, here shown, it will be seen that
he aims at simplicity of form with great reserve
in the application of ornament. A. E. S.
BANGOR.—At the National Eisteddfod
held in Wales annually it is the custom
to present a chair and a crown to
the successful bards. The designs in
previous Eisteddfods have been of the poorest
description. In connection with the Eisteddfod
held in September in Bangor, the executive com-
mittee ventured to strike out a new line.
The bardic chair, illustrated on page 213, was
designed and made by Mr. Robert H ilton. 1 he chair
is of oak, wax polished dull. The ornaments and
finials are of copper and translucent enamel; the
back of the seat is of cowhide, fastened with copper
studs ; the rail in front contains a bronzed copper
panel of a dragon. The symbolism is Druidical
Celtic. On the back is the cauldron of Ceridwen,
211