Studio: international art (77.1919)

STUDIO-TALK

colour on the block, one can see what the
impression will be like, for what is on the
block will print on the paper. 0 0

Every effort must be made to keep the
papers of the same dampness. When it is
remembered that a large printing-sheet
damped may be more than cne-eighth of
an inch longer than when dry, it is easily
seen that serious errors of register may
result from inattention to this point. 0
If the prints become too dry or un-
equally damp during the process of print-
ing, they must be put between the “ dam-
pers " for about ten minutes. If, on the
other hand, they are too damp, and this
applies especially to printing the line-block,
they may be put singly between absorbent
strawboards and pressed for, say, five
minutes. 00000
When the prints are finished, they should

at once be placed singly between the
absorbent boards already mentioned, and
these placed under a heavy weight or in a
press, to be left for a day or two in order to
dry thoroughly. If not quite dry the
prints cockle at the edge. 000
Owing to the absorbent nature of the
paper, care must be used in mounting the
prints. They should be hung on the
mount by means of two tiny hinges made
of adhesive paper. 0000
For further information recourse should
be made to Mr. Morley Fletcher's book on
the subject. Messrs. J. D. Batten and
F. Morley Fletcher were the first of modern
artists to investigate the possibilities of print-
ing in water-colour from wood-blocks, and
practically all those working at the craft in
Britain derive their knowledge from Mr.
Fletcher’s teaching. 000

STUDIO-TALK.

(From our own Correspondents.)

LONDON.—The closing days of this
year's Royal Academy Exhibition—
said to have been a very successful one from
the pecuniary point of view—witnessed the
departure of two distinguished representa-
tives of that institution—Sir Edward J.
Poynter, Bart., for twenty-three years its
President, and Mr. G. A. Storey, R.A., the
Professor of Perspective. The former, who
died on July 26, was born in 1836, and the
latter, who died three days later, was older
by two years. The chief facts in Sir
Edward Poynter's career have already been
noted in these pages—recently in an article
on his water-colours, and in 1896, when
Mr. Herbert Sharp reviewed his achieve-
ments prior to that year. The number that
contained this article also contained the
announcement of the death of Lord Leigh-
ton, whose place as President of the Royal
Academy Mr. Poynter, as he then was, was
destined to fill later on in the same year,
after the brief tenure of the office by Millais.
158

Though his art as a painter has still many
admirers, it belongs to a type that has in
recent years been gradually losing the
respect felt for it in the days when the
deceased artist was at the height of his fame
—a respect doubtless due in no small degree
to the painstaking care and scholastic re-
search bestowed by the artist on his compo-
sitions, often, unfortunately, at the sacrifice
of purely pictorial qualities. Many, how-
ever, who have ceased to derive pleasure
from his finished paintings still retain an
unstinted admiration for those studies in
which the true genius of the artist was
expressed. 00000
The series of vivacious pen-drawings by
Mrs. Gordon which we reproduce figured
a short time ago in the exhibition with
which Mr. Herbert Furst inaugurated the
“ Little Art Rooms" in Duke Street,
Adelphi, the exhibition consisting of works
by a number of well-known author-artists.
Both Mrs. Gordon and her husband, Mr.