Studio: international art (29.1903)

Allan Oslerlind's Coloured Etchings

I doubt if Turner's work has ever
inspired anything more faithful or
more enthusiastic than the etchings
done by Ranft "after" the pictures
in the National Gallery, while, as
for his landscapes and his yachting
scenes, they are so many visions
treated with intuitive modernism.
More recently still we have had the
chance of appreciating the talent of
Manuel Robbe; and in this con-
nection let me repair an omission
by stating that the majority of this
artist's works which have appeared
in The Studio are published by
M. Pierrefort of Paris, one of the
most active supporters of the
colour-etching, and one to whom
belongs the distinction of having
encouraged a good deal of still
hesitating ability to persevere in
that path. To M. Pierrefort we are
indebted for the examples of Allan
Osterlind's work , which illustrate
this article.

MODELS FOR HINGES AND ESCUTCHEONS

BY W. H. O. TENNANT (BIRMINGHAM)

lo ! the bird is on the wing." The platitude may
at least serve to urge art students to send more
designs for household application to the National
Competition of 1904.

LLAN OSTERLIND'S ETCH-
INGS IN COLOURS. BY
HENRI FRANTZ.

On several occasions already The Studio has
dealt with etchings in colours, foreshadowing
and announcing, so to speak, the renaissance
of an art which is practised to-day by a certain
number of artists of genuine talent. Thus the
reader has been in a position to follow, step by
step, in their researches such men as Delattre,
Francis Jourdain, Boutet de Monvel, and particu-
larly that fine artist, Richard Ranft, whose com-
mand of all that concerns the various processes
of the eau-forte is on a par with the fidelity he
shows in "fixing" the aspects of Nature. Whether he
strives to interpret the works of the Masters, or lets
his own fancy flow, Ranft always remains personal.
274

DESIGN FOR A STENCILLED BINDING

BY HARRY A. WRIGHT
(BRADFORD TECHNICAL COLLEGE)