DOI issue:
No. 276 (March 1916)
DOI article:The Royal Society of Painter-Etchers and Engravers
DOI Page / Citation link:https://doi.org/10.11588/diglit.21261#0120
The Royal Society of Painter-Etchers
“HAZY MORNING, I-AKE COMO ”
Dawson. Mr. Gaskell was again seen to advan-
tage as an exponent of the dry-point method, in
which excellent results were also displayed in prints
by Mr. W. P. Robins, Mr. John Wright, and
Mr. Sidney Tushingham (one of the very few
artists represented by portraiture).
Turning to the general body of exhibits, etchings
pure and simple for the chief part, we shall have
to content ourselves with enumerating a few of
the more notable contributions apart from those
which are reproduced in our illustrations—such as
M. Bejot’s St. Malo vu de Di?iard, Le Moulin
de la Galette, Motitmartre, and Le Pont Neuf Mr.
Charles J. Watson’s Marsh Farm, Mr. J. R. K.
Duff’s Boy shearing Lamb and kindred subjects,
Mr. Axel Haig’s A Street in Toledo with the
Cathedral, showing that the veteran artist’s hand
still retains its vigour; a couple of portraits by
Mabel Robinson and Mr. F. H. Townsend
respectively, Mr. Malcolm Osborne’s Loches, Sir
Charles Holroyd’s Bent Beech, Mr. Sydney Lee’s
The Monastery, Mr. Bernard Eyre’s Peiia Collorado,
Navarre, Mr. Percy Robertson’s The National
AQUATINT BY ALFRED HARTLEY, R.E.
Gallery and Storm-clouds over the City, Mr. Fred
Richards’s Old Houses o?i the Arno, Mr. Albany
Howarth’s The North Transept of Westminster and
The Five Sisters of York, two of the largest prints
on view and both excellent in their handling of
light, Mr. D. V. Smart’s King's Lynn, and several
plates by Mr. F. L. Griggs, who has joined the
Society quite recently and made his debut at
this exhibition with etchings which in no wise
discredit the renown, he has won with the pen and
pencil.
The exhibition included a collection of impres-
sions (lent for the occasion by Mr. Martin Hardie)
representing the entire etched work of Samuel
Palmer, who died in the very year that the Society
was founded, and it was interesting to contrast
his intricate use of the etched line for the
achievement of tonal effects with the economy of
line practised by some of the artists whose work
was seen on the walls, notably M. Bejot.
In the interval since the exhibition of last year
the Society has lost one of its younger Associates,
Mr. Boardman Wright.
“5
“HAZY MORNING, I-AKE COMO ”
Dawson. Mr. Gaskell was again seen to advan-
tage as an exponent of the dry-point method, in
which excellent results were also displayed in prints
by Mr. W. P. Robins, Mr. John Wright, and
Mr. Sidney Tushingham (one of the very few
artists represented by portraiture).
Turning to the general body of exhibits, etchings
pure and simple for the chief part, we shall have
to content ourselves with enumerating a few of
the more notable contributions apart from those
which are reproduced in our illustrations—such as
M. Bejot’s St. Malo vu de Di?iard, Le Moulin
de la Galette, Motitmartre, and Le Pont Neuf Mr.
Charles J. Watson’s Marsh Farm, Mr. J. R. K.
Duff’s Boy shearing Lamb and kindred subjects,
Mr. Axel Haig’s A Street in Toledo with the
Cathedral, showing that the veteran artist’s hand
still retains its vigour; a couple of portraits by
Mabel Robinson and Mr. F. H. Townsend
respectively, Mr. Malcolm Osborne’s Loches, Sir
Charles Holroyd’s Bent Beech, Mr. Sydney Lee’s
The Monastery, Mr. Bernard Eyre’s Peiia Collorado,
Navarre, Mr. Percy Robertson’s The National
AQUATINT BY ALFRED HARTLEY, R.E.
Gallery and Storm-clouds over the City, Mr. Fred
Richards’s Old Houses o?i the Arno, Mr. Albany
Howarth’s The North Transept of Westminster and
The Five Sisters of York, two of the largest prints
on view and both excellent in their handling of
light, Mr. D. V. Smart’s King's Lynn, and several
plates by Mr. F. L. Griggs, who has joined the
Society quite recently and made his debut at
this exhibition with etchings which in no wise
discredit the renown, he has won with the pen and
pencil.
The exhibition included a collection of impres-
sions (lent for the occasion by Mr. Martin Hardie)
representing the entire etched work of Samuel
Palmer, who died in the very year that the Society
was founded, and it was interesting to contrast
his intricate use of the etched line for the
achievement of tonal effects with the economy of
line practised by some of the artists whose work
was seen on the walls, notably M. Bejot.
In the interval since the exhibition of last year
the Society has lost one of its younger Associates,
Mr. Boardman Wright.
“5