DOI Heft:
No. 126 (September, 1903)
DOI Artikel:Wood, Esther: The national competition of schools of art, 1903
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19879#0282
The National Competition
MODELLED DESIGN FOR A WALL FOUNTAIN
BY MAGGIE RICHARDSON (NEW CROSS)
illustrations in colours. The best of this series
were Early One Morning, Pretty Polly Perkins,
Sally in Our Alley, and The Letter—somewhat
marred by a pocket on the girl's apron, set very
much too low. The work of J. Gertrude Slade
(St. Albans), in architectural landscape, was thought-
ful and good.
The admirable group of decorative landscape
panels for lithography in colours by Ethel Stewart
(Liverpool) deserves special praise. This young
artist has shown great taste in her choice and
arrangement of subjects to suit the limitations of
colour-printing, and the drawings for six or less
colours were prepared in a thoroughly interesting
and scholarly way. In addition to the studies for
lithography there were four delightful little stencilled
panels in colour, representing The Baker's Shop
in Rye, At the Sign of the Mermaid, Rye, In the
Hundred of Wirral, and At Chester in the Rows.
The bookbindings were not numerous. Camber-
well sent good examples by Edmund Westrope
and others, which maintained the high standard set
by its bookbinding classes, and there was an excel-
lent piece of tooling exhibited by Gertrude Butler
266
(Birmingham). Louisa M. Dickson (Newcastle)
showed a simple and well-proportioned book-
cover in repousse silver on wood, and Arthur
Holloway (Birmingham) a delicate little jewel-
case in leather, gold-tooled. The jewellery
also was less prolific than usual. The best
designers in this class were George E. Hides
and Edith M. Linnell, both of Birmingham; the
latter taking—and deserving—the gold medal
for her silver brooch, buttons, cloak clasps and
pins, while the former showed some hardly less
excellent work of the same kind.
The awards in the textile classes were far less
comprehensible. Here, indeed, were some
extraordinary freaks of judgment on the part of
the examiners, belying their own canons of
" suitability of design to material." Sincerely
as we admired the design of Sarah C. V. Jarvis,
the chief of that vigorous little school of textile
workers at Battersea, we must protest that it was
wholly unsuitable for such a delicate fabric as
MODELLED DESIGN FOR A SUN-DIAL
BY VIOLET E. BRUNTON
(LIVERPOOL, MOUNT STREET)
MODELLED DESIGN FOR A WALL FOUNTAIN
BY MAGGIE RICHARDSON (NEW CROSS)
illustrations in colours. The best of this series
were Early One Morning, Pretty Polly Perkins,
Sally in Our Alley, and The Letter—somewhat
marred by a pocket on the girl's apron, set very
much too low. The work of J. Gertrude Slade
(St. Albans), in architectural landscape, was thought-
ful and good.
The admirable group of decorative landscape
panels for lithography in colours by Ethel Stewart
(Liverpool) deserves special praise. This young
artist has shown great taste in her choice and
arrangement of subjects to suit the limitations of
colour-printing, and the drawings for six or less
colours were prepared in a thoroughly interesting
and scholarly way. In addition to the studies for
lithography there were four delightful little stencilled
panels in colour, representing The Baker's Shop
in Rye, At the Sign of the Mermaid, Rye, In the
Hundred of Wirral, and At Chester in the Rows.
The bookbindings were not numerous. Camber-
well sent good examples by Edmund Westrope
and others, which maintained the high standard set
by its bookbinding classes, and there was an excel-
lent piece of tooling exhibited by Gertrude Butler
266
(Birmingham). Louisa M. Dickson (Newcastle)
showed a simple and well-proportioned book-
cover in repousse silver on wood, and Arthur
Holloway (Birmingham) a delicate little jewel-
case in leather, gold-tooled. The jewellery
also was less prolific than usual. The best
designers in this class were George E. Hides
and Edith M. Linnell, both of Birmingham; the
latter taking—and deserving—the gold medal
for her silver brooch, buttons, cloak clasps and
pins, while the former showed some hardly less
excellent work of the same kind.
The awards in the textile classes were far less
comprehensible. Here, indeed, were some
extraordinary freaks of judgment on the part of
the examiners, belying their own canons of
" suitability of design to material." Sincerely
as we admired the design of Sarah C. V. Jarvis,
the chief of that vigorous little school of textile
workers at Battersea, we must protest that it was
wholly unsuitable for such a delicate fabric as
MODELLED DESIGN FOR A SUN-DIAL
BY VIOLET E. BRUNTON
(LIVERPOOL, MOUNT STREET)