Studio- Talk
CARVED OAK PULPIT IN LEYS SCHOOL CHAPEL, CAM-
BRIDGE. GENERAL DESIGN BY ROBERT CURWKN,
A.R.I.B.A. CARVED BY MISS HOBSON, SIR GEORGE
H. CHUBB AND MISS H. M. CHUBB
approach to perfection, but attaining it in such
plates as those of the Dresden set and others.
The octagonal pulpit illustrated on this page was
a gift from Sir George Hayter Chubb to the
Moulton Memorial Chapel at Leys School,
Cambridge. The general design of the pulpit,
which is of Austrian oak, originated with ihe
architect of the chapel, Mr. Robert Curwen, while
the mouldings and panels were designed or adapted
by Miss Anne Hobson, who, with Sir George and
Miss H. M. Chubb, executed the carving. The
lectern, also illustrated on this page, was executed
by the Rev. H. J. E. Burrell for his church at
Wigginton, near Tring, Herts, from a design by
Mr. W. B. Hopkins of Berkhamsted. The dark
bogwood inlay is very effective.
The Black Frame Sketch Club exhibitions are
always very pleasant ones to visit. Containing
chiefly oil paintings carried far enough to count as
more than sketches, and retaining in most cases
evidence of direct inspiration from nature, a refresh-
ing open-air quality characterised this year’s show.
Exceptionally successful pictures were Ltedford
Bridge, by Alphonso Toft ; Moonrise and Thatching
the Rick, by Percy W. Gibbs ; The Mill and other
sketches, by James Wallace; The Valley of the
Nidd, by J. Longhurst ; the out - door portrait
sketches of Mr. Borough-Johnson ; two or three
paintings by Mr. J. Hodgson Lobley, and works by
'Messrs. B. Haughton, S. Scott, Paul Paul, and
Alec Carruthers Gould. A sketch of another
character and full of interest was Mr. Val Havers’
Scene from the Opera “ La Bohême.”
One of the most interesting one-man shows of
the month was Mr. Fuller Maitland’s at the Ryder
Gallery. Greatly influenced apparently by Con-
stable and other masters of the English school, he
yet succeeds in clearly asserting his own in-
dividuality and feeling, his pictures curiously
blending later impressionism with its first
traditions. _
In the altar frontal illustrated overleaf, em-
broidered in appliqué on a white figured silk,
OAK LECTERN WITH BOGWOOD INLAY
DESIGNED BY W. B. HOPKINS
EXECUTED BY REV. H. J. E. BURRELL
I43
CARVED OAK PULPIT IN LEYS SCHOOL CHAPEL, CAM-
BRIDGE. GENERAL DESIGN BY ROBERT CURWKN,
A.R.I.B.A. CARVED BY MISS HOBSON, SIR GEORGE
H. CHUBB AND MISS H. M. CHUBB
approach to perfection, but attaining it in such
plates as those of the Dresden set and others.
The octagonal pulpit illustrated on this page was
a gift from Sir George Hayter Chubb to the
Moulton Memorial Chapel at Leys School,
Cambridge. The general design of the pulpit,
which is of Austrian oak, originated with ihe
architect of the chapel, Mr. Robert Curwen, while
the mouldings and panels were designed or adapted
by Miss Anne Hobson, who, with Sir George and
Miss H. M. Chubb, executed the carving. The
lectern, also illustrated on this page, was executed
by the Rev. H. J. E. Burrell for his church at
Wigginton, near Tring, Herts, from a design by
Mr. W. B. Hopkins of Berkhamsted. The dark
bogwood inlay is very effective.
The Black Frame Sketch Club exhibitions are
always very pleasant ones to visit. Containing
chiefly oil paintings carried far enough to count as
more than sketches, and retaining in most cases
evidence of direct inspiration from nature, a refresh-
ing open-air quality characterised this year’s show.
Exceptionally successful pictures were Ltedford
Bridge, by Alphonso Toft ; Moonrise and Thatching
the Rick, by Percy W. Gibbs ; The Mill and other
sketches, by James Wallace; The Valley of the
Nidd, by J. Longhurst ; the out - door portrait
sketches of Mr. Borough-Johnson ; two or three
paintings by Mr. J. Hodgson Lobley, and works by
'Messrs. B. Haughton, S. Scott, Paul Paul, and
Alec Carruthers Gould. A sketch of another
character and full of interest was Mr. Val Havers’
Scene from the Opera “ La Bohême.”
One of the most interesting one-man shows of
the month was Mr. Fuller Maitland’s at the Ryder
Gallery. Greatly influenced apparently by Con-
stable and other masters of the English school, he
yet succeeds in clearly asserting his own in-
dividuality and feeling, his pictures curiously
blending later impressionism with its first
traditions. _
In the altar frontal illustrated overleaf, em-
broidered in appliqué on a white figured silk,
OAK LECTERN WITH BOGWOOD INLAY
DESIGNED BY W. B. HOPKINS
EXECUTED BY REV. H. J. E. BURRELL
I43