DOI issue:
No. 328 (July 1920)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21360#0193
STUDIO-TALK
“ MISAKI HARBOUR, JAPAN"
BY TAKE SATO
(In the possession of Miss Howell)
pression of a locality visited by the artist
who has, however, made no attempt to
reproduce literally the topographical
features of the place. This North Devon
picture is characteristic of the artist's
work in this country, the charm of which is
in no small measure due to the oriental
accent which unmistakably asserts itself
in it. aaaaa
Mr. John Copley and his talented wife,
known in the art world as Miss Ethel
Gabain, are showing a collection of their
recent lithographs at the gallery of Messrs.
Colnaghi and Co., New Bond Street,
and from this collection we reproduce on
pages 189 and 190 an example of the work
of each on the stone. Both artists are
among the most ardent exponents of litho-
graphy as a medium of original expression,
and to both is due in no small degree the
prestige which this art has regained, after
falling a prey to commercialism. They are
both firm believers in the superiority of the
stone, as compared with work done on
transfer paper or zinc, and to neither of
them do the technicalities of the medium
present any difficulties. To their methods
reference is made by Mr. Salaman in our
recent Special Number on u Modern
Woodcuts and Lithographs." 0 0
The petit-point panel reproduced on
page 191 is from an extraordinarily in-
teresting collection of needlework, mostly
of the Stuart period, shown recently at the
establishment of Messrs. Sidney Hand,
Ltd., in Grafton Street, the collection
comprising not only panels like this
example, but caskets, mirror frames, and
other objects elaborately decorated with
needlework compositions, some of them
being remarkable for the wonderful diver-
sity of technique employed in making
them, including besides all manner of
stitch, some very intricate beadwork,
and also examples of ** stump " work.
That all these specimens of needlecraft
have been cherished as treasures by those
who have owned them throughout the
intervening generations was evident from
their state of preservation, most of them
3:87
“ MISAKI HARBOUR, JAPAN"
BY TAKE SATO
(In the possession of Miss Howell)
pression of a locality visited by the artist
who has, however, made no attempt to
reproduce literally the topographical
features of the place. This North Devon
picture is characteristic of the artist's
work in this country, the charm of which is
in no small measure due to the oriental
accent which unmistakably asserts itself
in it. aaaaa
Mr. John Copley and his talented wife,
known in the art world as Miss Ethel
Gabain, are showing a collection of their
recent lithographs at the gallery of Messrs.
Colnaghi and Co., New Bond Street,
and from this collection we reproduce on
pages 189 and 190 an example of the work
of each on the stone. Both artists are
among the most ardent exponents of litho-
graphy as a medium of original expression,
and to both is due in no small degree the
prestige which this art has regained, after
falling a prey to commercialism. They are
both firm believers in the superiority of the
stone, as compared with work done on
transfer paper or zinc, and to neither of
them do the technicalities of the medium
present any difficulties. To their methods
reference is made by Mr. Salaman in our
recent Special Number on u Modern
Woodcuts and Lithographs." 0 0
The petit-point panel reproduced on
page 191 is from an extraordinarily in-
teresting collection of needlework, mostly
of the Stuart period, shown recently at the
establishment of Messrs. Sidney Hand,
Ltd., in Grafton Street, the collection
comprising not only panels like this
example, but caskets, mirror frames, and
other objects elaborately decorated with
needlework compositions, some of them
being remarkable for the wonderful diver-
sity of technique employed in making
them, including besides all manner of
stitch, some very intricate beadwork,
and also examples of ** stump " work.
That all these specimens of needlecraft
have been cherished as treasures by those
who have owned them throughout the
intervening generations was evident from
their state of preservation, most of them
3:87