Studio: international art (70.1917)

The Art of the Colour-print

COLOUR-PRINT BY FREDERICK MARRIOTT, A.R.E.

certain richness in his colours by mixing a
little oil, omits the outline block, and achieves
striking prints. Miss x\da L. Collier, a painter
usually in oils or gouache, learnt the craft of
the wood-block colour-print from Mr. Giles.
Her prints, of which the attractive Venetian
Boat, reproduced here, was printed from six
blocks, show an engaging sense of decorative
colour-pattern.

Standing apart from this group with the
Japanese methods are two distinctive artists
who also make colour-prints from wood-blocks—
but in ways of their own. These are Mr.
Lucien Pissarro and Lieut. Emile A. Verpilleux.
Mr. Pissarro's delicate and lovely little prints,
designed to be printed, with ordinary coloured
inks, in the press together with letter-type as
book-decoration, are produced by the graver,
not the knife as in the Japanese manner.
Wood-engraving, used with extraordinarily

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“ FALAISE BY NIGHT ”

always in expressive relation to his subjects,
while they are conceived simply and broadly as
colour-pattern, with deliberate decorative pur-
pose. Readers of The Studio have seen several
of his beautiful prints in reproduction, but he
has never achieved anything liner in colour-
gradation on the wood-block than his latest
print, The Last Gleam, Veijle Fjord, Denmark.

Mr. Allen Seaby, with a distinctive pictorial
vision, a fine sense of colour, and a happy craft
of hand has used the decorative value of
bird-life to charming purpose. Mr. Sydney
Lee expresses his pictorial individuality as
artistically upon the colour-block as he does
through other graphic mediums. The prints
of Miss Ethel Kirkpatrick, Mrs. Austen Brown,
and Miss Mabel Royds have all their several
artistic appeals, with charm of colour and
design, Mr. Charles Mackie has found his own
way. He cuts his designs upon oak, gets a