DOI Heft:
No. 138 (September, 1904)
DOI Artikel:The National Competition of schools of art, 1904
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19882#0356
The National Competition
(Londonderry) are distinctive in character
and beautifully executed, and special
praise is due to W. H. Pegg for his won-
derfully pretty lace fan. Good collars
and " berthas " are also shown by Clarice
Ryland (Handsworth), Maggie MacDon-
nell (Cork), and Annie Hyland (Dublin).
In this section, happily, one is less con-
stantly reminded of the defect which marks
these competitions generally—namely the
lack of really practical inventiveness in
design of articles for everyday use. The
nearer one gets to common needs—of
jugs that will pour water for a lifetime, of
kitchen utensils that will easily clean, of
furniture that is really comfortable and
convenient—the farther one gets from
crochet collar by Elizabeth c. pollock (Londonderry) sound design or the homely workmanship
that is "original" in the best sense of the
term, and in the sense of appearing novel
excellence, and Taunton still holds its own in this because it is rare. One needs to insist still upon
section of exhibits. The work of Lydia C. Hammett, the lesson that the article which commends itselt
which is now well known, here illustrates that sound by its convenience and durability is the most
principle of lace decoration that it should be based beautiful of all. E. W.
on forms themselves gossamer-like and ethereal in
character. Edith Mason sends a rich and handsome \On account of thefressute on our space we are
design for a "bertha" in Honiton lace. From other obliged to hold over some of the illustrations to the
schools the two lace collars by Elizabeth C. Pollock foregoing article until our next issue.—Editor.]
panel or embroidered screen
332
by clara lavington (leeds)
(Londonderry) are distinctive in character
and beautifully executed, and special
praise is due to W. H. Pegg for his won-
derfully pretty lace fan. Good collars
and " berthas " are also shown by Clarice
Ryland (Handsworth), Maggie MacDon-
nell (Cork), and Annie Hyland (Dublin).
In this section, happily, one is less con-
stantly reminded of the defect which marks
these competitions generally—namely the
lack of really practical inventiveness in
design of articles for everyday use. The
nearer one gets to common needs—of
jugs that will pour water for a lifetime, of
kitchen utensils that will easily clean, of
furniture that is really comfortable and
convenient—the farther one gets from
crochet collar by Elizabeth c. pollock (Londonderry) sound design or the homely workmanship
that is "original" in the best sense of the
term, and in the sense of appearing novel
excellence, and Taunton still holds its own in this because it is rare. One needs to insist still upon
section of exhibits. The work of Lydia C. Hammett, the lesson that the article which commends itselt
which is now well known, here illustrates that sound by its convenience and durability is the most
principle of lace decoration that it should be based beautiful of all. E. W.
on forms themselves gossamer-like and ethereal in
character. Edith Mason sends a rich and handsome \On account of thefressute on our space we are
design for a "bertha" in Honiton lace. From other obliged to hold over some of the illustrations to the
schools the two lace collars by Elizabeth C. Pollock foregoing article until our next issue.—Editor.]
panel or embroidered screen
332
by clara lavington (leeds)