DOI issue:
Nr. 243 (June 1913)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.21159#0080
Studio-Talk
The Black Fur, Miss E. M. Burgess’s A Study,
Miss Myra E. Luxmore’s Roses and Sweet Lavender,
Miss N. K. Chiswell’s Miss Violet Page, Miss W.
Sandys’ Doreen, and Miss L. F. Mundy’s Child
with Orange. There is a fashion growing for
something beyond the strict portrait in miniature,
and of those who were most successful in a fanciful
presentment of the figure, Miss E. Grace Wolfe’s
DEntr'acte and L’Attente should be recorded.
Mr. H. Davis Richter’s reputation as a decorative
artist is well established, and readers of The
Studio Year Book are familiar with his work
in this sphere. At the Brook Street Art Gallery
he recently revealed himself as a flower-painter of
considerable individuality and ability. Here he
exhibited a series of oil-paintings and water-colours
which displayed to full advantage his fine feeling
for decorative and colour harmony. His robust
technique was seen to better advantage in the oils,
in which the quality of the painting reached a high
standard. His finest achievements were the Roses,
Yellow Daisies, Petunia, and The Window Ledge,
while his two water-colours of Cineraria were
particularly successful.
The Royal Institute of Painters in Water-Colours
has lost another of its veterans and one of its most
influential supporters through the death of Mr.
James Orrock, who died on May io at Shepperton,
on the outskirts of London. Mr. Orrock, who was
a man of very versatile attainments, was born
in Edinburgh in 1829, his father being a surgeon-
dentist of considerable celebrity in his day. James
Orrock was himself trained for the same profession
and practised in it for some years until art claimed
his allegiance. He studied art at the Nottingham
School of Art and became an Associate of the
Royal Institute in 1871 and a full member in
1875. Always keenly interested in the affairs of
the Institute he took a prominent part in the
abortive negotiations for its amalgamation with the
“ Old ” Water-Colour Society some thirty years
ago as well as in the concurrent and more success-
ful movement for building the fine galleries in
Piccadilly where it now holds its exhibitions, events
which are fully narrated in our Special Spring
Number of 1906 dealing with the Institute. Mr.
Orrock, besides being a landscape painter of marked
ability, was also an extensive collector of pictures
and water-colour drawings by the great English
“yorinda and yoringel
60
(Grafton Galleries)
BY JOHN DUNCAN A.R.S.
The Black Fur, Miss E. M. Burgess’s A Study,
Miss Myra E. Luxmore’s Roses and Sweet Lavender,
Miss N. K. Chiswell’s Miss Violet Page, Miss W.
Sandys’ Doreen, and Miss L. F. Mundy’s Child
with Orange. There is a fashion growing for
something beyond the strict portrait in miniature,
and of those who were most successful in a fanciful
presentment of the figure, Miss E. Grace Wolfe’s
DEntr'acte and L’Attente should be recorded.
Mr. H. Davis Richter’s reputation as a decorative
artist is well established, and readers of The
Studio Year Book are familiar with his work
in this sphere. At the Brook Street Art Gallery
he recently revealed himself as a flower-painter of
considerable individuality and ability. Here he
exhibited a series of oil-paintings and water-colours
which displayed to full advantage his fine feeling
for decorative and colour harmony. His robust
technique was seen to better advantage in the oils,
in which the quality of the painting reached a high
standard. His finest achievements were the Roses,
Yellow Daisies, Petunia, and The Window Ledge,
while his two water-colours of Cineraria were
particularly successful.
The Royal Institute of Painters in Water-Colours
has lost another of its veterans and one of its most
influential supporters through the death of Mr.
James Orrock, who died on May io at Shepperton,
on the outskirts of London. Mr. Orrock, who was
a man of very versatile attainments, was born
in Edinburgh in 1829, his father being a surgeon-
dentist of considerable celebrity in his day. James
Orrock was himself trained for the same profession
and practised in it for some years until art claimed
his allegiance. He studied art at the Nottingham
School of Art and became an Associate of the
Royal Institute in 1871 and a full member in
1875. Always keenly interested in the affairs of
the Institute he took a prominent part in the
abortive negotiations for its amalgamation with the
“ Old ” Water-Colour Society some thirty years
ago as well as in the concurrent and more success-
ful movement for building the fine galleries in
Piccadilly where it now holds its exhibitions, events
which are fully narrated in our Special Spring
Number of 1906 dealing with the Institute. Mr.
Orrock, besides being a landscape painter of marked
ability, was also an extensive collector of pictures
and water-colour drawings by the great English
“yorinda and yoringel
60
(Grafton Galleries)
BY JOHN DUNCAN A.R.S.