Studio: international art (44.1908)

Studio-Talk

in sculpture; it begins to be a characteristic of
Berlin artists. The strongest interest is aroused
by landscapes, but some portraits and figure
subjects are also very creditable performances.
Some of our oldest masters, like Paul Meyerheim,
Count Harrach, A. von Werner, are reaping fresh
laurels. Scarbina has grown surprisingly. His
Night oj the bth of February, 1907, shows a happy
faculty for grasping misses, and the painter adds
particular fascination by his lighting effects. The
best portrait-contributor is George Ludwig Meyn,.
whose picture of a family group places German
portraiture on a level with the best foreign work
for spontaneity of conception and distinction of
execution. The “ Hall of Honour ” is habitually

SILVER TEAPOT BY HAROLD STABLER

Prominent amongst the silverware
was a handsome large silver casket set
with jade, the work of R. LI. B.
Rathbone, very refined in design and
execution. Silver teapots by him and
Harold Stabler; a jewel casket in silver
by Alexander Fisher; a silver chalice
by J. Paul Cooper, and other beautiful
work by Bernard Cuzner, Albert
Bonner, J. A. Hodel, Florence Stem,
A. E. Jones, F. L. Temple, H. C.
Hawes, and the Birmingham Guild of
Handicraft, all contributed to the very
interesting collection of articles in this
section.

BY R. LL. B. RATHBONE

Embroideries, lace, costume, jewellery, wrought
metal work and enamels, repoussd copper and
brass, cabinet work and inlay, working hand-looms
and hand-woven rugs, all represented by examples
of excellent craftsmanship, may be referred to on a
future occasion, as the present lack of space does
not permit of any detailed description of these
sections in the Liverpool Exhibition. H. B. B.

BERLIN.—-The Grosse Berliner Kunstaus-
stellung this year has been a place for
quiet enjoyment. With the exception of
Briitt’s Notturno, there are no monu-
mental deeds, no surprises of originality to record,
but the oftener we repeat our visits the more we
discover pleasing sights. The general level is
good in spite of quantities of indifferent work.
Modernity has become quite an habitual feature
here, but it is not accepted in uncouth garb.
Development is visible in painting, and particularly
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filled with war paintings, among which those of
Rochling and Rocholl maintain superiority.

All sorts of sights have inspired the landscape
painters. Karl Boehme creates the grandest im-
pression with his Summer Night in the Lofotens. The
best painter of Capri waters shows here new ambi-
tions in grasping mighty distances and threatening
clouds. Alfred Scherres has beautifully mirrored a
grotesque waterside tract of old Dantsic under the
melancholy spell of ice-floes and snow-laden roofs.
Fritz von Wille has been captivated by the dra-
matic element of a castle-ruin among the sombre
Eifel mountains. H. Koenemann betrays the
rhapsodic bent of the Bracht influence in his deco-
rative Celtic Tombs. Fr. Hoffmann von Fallersleben
is as captivating as ever in his Goethe Memories i?t
the Weimar Park, an autumnal poem redolent
with sacred souvenirs. Langhammer, Kayser-
Eichberg, Hartig, Licht, Wendel, Sandrock, Uthf