DOI Heft:
No. 152 (November, 1905)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20713#0187
Studio-Talk
well-known Liverpool sculptor, and erected at the
cemetery, Leicester, under the direction of Messrs.
Everard & Pick, architects. The work is interest-
ing as marking a praiseworthy departure from the
stereotyped, commonplace monuments which are
so much in evidence in burial - places. We
should like to see young men who are taking to
sculpture as a profession devote more attention
to work of this kind. Sacred edifices (some of the
finest examples of which have been erected as
memorials to the dead) are, and always have been,
objects of the highest art, and there is no reason
why these minor monuments, no less sacred to
those immediately concerned, should not come
in for a greater share of the sculptor’s talent than
they appear to at present.
reproduced on page 166, was recently on view in
the Walker Gallery, where it attracted notice by
reason of its vigorous treatment and accurate
delineation.
A young Liverpool sculptor who gives good
promise is J. Herbert Morcom. His early studies
in drawing were guided by Mr. John Finnie at the
Mount Street School of Art. After a varied tech-
nical training gained in the workshops of Messrs.
Norbury & Paterson, mainly upon altar - pieces
and other ecclesiastical work in wood and stone,
Mr. Morcom became assistant in the sculpture
studio of Mr. Charles J. Allen, where he has had
the advantage of working upon important public
commissions under the direction of that artist.
Mr. Hall Neale’s Portrait of Sir Edward Russell, In a small plaster-group exhibited in 1902, en-
titled Whispers op Love, Mr. Mor-
com displayed a genuine feeling
for grace of form ; in the 1903
Exhibition he attracted attention
by the technical refinements and
classic elegance of his plaster
statuette Peace. This year, in a
very pleasing little group, The
Captive (reproduced on p. 166), Mr.
Morcom gives proof of fine dis-
crimination in detail, an increasing
power of expression, and a capable
accomplishment. H. B. B.
AUCKLAND, (New Zea-
land).—Artists are not
so many in the Colonies
as in the Old Country,
but still they are sufficiently numer-
ous to show all grades, from the
large majority of feeble, incompe-
tent dabblers to the small inspired
number of “poets of the brush.”
peace ”
BY J. H. MORCOM
Conspicuous among the latter
stands Mr. Frank Wright, of
Auckland. Mr. Wright was not,
however, born in New Zealand, but
in England. He is a native of
Nottingham, the son of a lace
designer; and in his boyhood was
a student at the Nottingham School
of Art. For his first instruction in
water-colour painting he is indebted
to Matthew Doubleday. Later on
he was apprenticed to the design-
169
well-known Liverpool sculptor, and erected at the
cemetery, Leicester, under the direction of Messrs.
Everard & Pick, architects. The work is interest-
ing as marking a praiseworthy departure from the
stereotyped, commonplace monuments which are
so much in evidence in burial - places. We
should like to see young men who are taking to
sculpture as a profession devote more attention
to work of this kind. Sacred edifices (some of the
finest examples of which have been erected as
memorials to the dead) are, and always have been,
objects of the highest art, and there is no reason
why these minor monuments, no less sacred to
those immediately concerned, should not come
in for a greater share of the sculptor’s talent than
they appear to at present.
reproduced on page 166, was recently on view in
the Walker Gallery, where it attracted notice by
reason of its vigorous treatment and accurate
delineation.
A young Liverpool sculptor who gives good
promise is J. Herbert Morcom. His early studies
in drawing were guided by Mr. John Finnie at the
Mount Street School of Art. After a varied tech-
nical training gained in the workshops of Messrs.
Norbury & Paterson, mainly upon altar - pieces
and other ecclesiastical work in wood and stone,
Mr. Morcom became assistant in the sculpture
studio of Mr. Charles J. Allen, where he has had
the advantage of working upon important public
commissions under the direction of that artist.
Mr. Hall Neale’s Portrait of Sir Edward Russell, In a small plaster-group exhibited in 1902, en-
titled Whispers op Love, Mr. Mor-
com displayed a genuine feeling
for grace of form ; in the 1903
Exhibition he attracted attention
by the technical refinements and
classic elegance of his plaster
statuette Peace. This year, in a
very pleasing little group, The
Captive (reproduced on p. 166), Mr.
Morcom gives proof of fine dis-
crimination in detail, an increasing
power of expression, and a capable
accomplishment. H. B. B.
AUCKLAND, (New Zea-
land).—Artists are not
so many in the Colonies
as in the Old Country,
but still they are sufficiently numer-
ous to show all grades, from the
large majority of feeble, incompe-
tent dabblers to the small inspired
number of “poets of the brush.”
peace ”
BY J. H. MORCOM
Conspicuous among the latter
stands Mr. Frank Wright, of
Auckland. Mr. Wright was not,
however, born in New Zealand, but
in England. He is a native of
Nottingham, the son of a lace
designer; and in his boyhood was
a student at the Nottingham School
of Art. For his first instruction in
water-colour painting he is indebted
to Matthew Doubleday. Later on
he was apprenticed to the design-
169