Studio: international art (67.1916)

Modern British Sculptors

Mr. Buxton can impart so well. His Athens, also
inspired by his travels, was a notable composition,
being an allegorical group representing the Spirit
of ancient Greek sculpture musing over a miniature
figure of Theseus before bestowing it on a youthful
and modern aspirant to fame. Another memorable
work is the Isabella shown at the Royal Academy
in 1912 ; it is a poetic realisation of the well-known
lines by Keats. Mr. Buxton, who is a Londoner
by birth, has done a great deal of architectural
carving both before and after his studentship. He
has recently been engaged on the sculpture in the
Congregational Church at Westcliff near Southend.

Mr. John Angel has also risen from the ranks
of carvers, and was technically skilled before he
entered the Royal Academy Schools. He was a
prize-winner right through, and there was no sur-
prise when he won the Gold Medal. That was
in 1911, the year when, owing to the sweeping
successes of the girl students, Sir E. J. Poynter
referred somewhat caustically to the “ slackness ”
of the men and to the tarnished honour of his own
sex. But no girl has ever won the “Gold’’for
Sculpture and even in that year none could challenge
the supremacy of Mr. Angel. Like Mr. Blundstone,
Mr. Angel, who was born at Newton Abbot, was a
student at the South London Technical Art School
under Mr.W. S. Frith, before
proceeding to the Royal
Academy Schools. His
statuettes show considerable
resource in design, and his
larger works, such as The
Appeal, are conceived
sturdily.

Last on the list of Gold
Medallists at present is Mr.

Gilbert Ledward, the suc-
cessful student in j 913, in
which year he also won the
first Scholarship in Sculpture
of the British School at
Rome. Owing to the out-
break of war Mr. Ledward
was only able to spend nine
months in Italy instead of
three years. Since his return
he has been engaged upon
the Crucifixion (page 31),
which is part of a Calvaiy
memorial erected in the
churchyard at Bourton-on-
the - ater in Gloucester-
shire. It is based on the

traditional stone crosses in the locality, and it is
penetrated with simple dignity and reverent feeling.
Mr. Ledward, whose father was a sculptor, was born
in Chelsea, and for a time was a student at the
Royal College of Art.

Another of Professor Lanteri’s pupils who still
enjoys the benefits of association with the master is
Mr. Charles Wheeler, a native of Wolverhampton.
His work includes the reliefs illustrated on
pages 26 and 27, one of which, The Waters of
Forgetfulness, was seen at the Royal Academy
last year. These works show unusual promise in
design and will be followed no doubt by others
still more important.

Mr. W. Reid Dick, R. B.S., has established
a good reputation in the south as well as in
Glasgow, where, until 1907, he studied at the
School of Art. Since his migration to London
his work has been seen at the Royal Academy and
elsewhere, notable examples being Femina Victrix,
now in the New South Wales Art Gallery, The
Catapult, in the Bradford Art Gallery (page 23),
The Kelpie, and The Joy ofLij 'e and Silence. He was
one of the first members of the profession to join
the Army and for some months now has been “at
the Front ” with the Royal Army Medical Corps.

Alfred Yockney.

“the kelpie”

BY W. REID DICK