Studio: international art (85.1923)

REVIEWS

English Furniture of the Cabriole Period.
By H. Aveay Tipping, (London : Jonathan
Cape). 125. 6d. net. The examples of
Cabriole furniture illustrated and described
in this volume have been selected from the
collection of Mr. Percival Griffiths and
represent some of the leading types which
prevailed in the first half of the eighteenth
century—corresponding approximately to
the reigns of Anne and thefirsttwo Georges.
This, besides being the period of the curved
leg, was also that in which walnut began
to be used extensively in cabinet-making,
and most of the examples illustrated are
in that wood or mahogany. The Cabriole
style has been revived from time to time and
still enjoys a certain amount of favour in the
trade, but nothing like so much as a genera-
tion or two ago when it was muchinvoguefor
the u parlour suite ” of middle class homes.

Colour : Charted and Catalogued. By
E. Fellowes. (London: Geographia,Ltd.).
£3 3s. The system of charts here pre-
sented is designed to serve primarily as a
key-reference to facilitate the accurate
matching of colours. Four hundred
different hues are represented, and to each
is attached a number and a name, together
with the formula based on measurements
made by means of Lovibond's Tintometer
so that an exact repetition can be assured.
Also in the case of one hundred of them the
scientific measurement is given in terms
of wave-length. A good deal of ingenuity
has been exercised in the naming of the
hues and all sorts of birds, beasts, fishes,
insects and plants have been requisitioned
for the purpose. Thus we have hedgehog
brown, pelican pink and cassowary blue,
cod brown and haddock grey, babbler
green, bumble bee, winkle shell, quince
tree stem, old man’s beard, and traveller’s
joy—the two last referring to distinct hues
though we always understood the names
to belong to one species {Clematis vitalba).

French Etchings from Meryon to Lep'ere.
By Campbell Dodgson, C.B.E., Hon.
R.E. 55. net. This is the second publica-
tion issued by the Royal Society of Painter-
Etchers to subscribing members of the
Print Collectors’ Club and contains, like
Mr. Martin Hardie’s review of the British
School of Etching, twelve illustrations in
collotype. Mr. Dodgson, starting with the
year 1850, the date of Meryon’s first mature

180

etching, touches in turn upon the work
of that master, of Lalanne, Bracquemond,
Jongkind, Corot, Millet, Rodin, Legros,
Manet, Lepire, and three living artists,
Besnard, Forain, and Steinlen. Comparing
the British and French Schools, he records
his opinion—“ with diffidence ”—that

“ the French aquafortist is more intellec-
tually alert, more enterprising, and more
fearless than his English confrere.” 0

From Messrs. Longmans, Green & Co.
comes a revised edition of Professor
Hamlin’s Text-Book of the History of
Architecture (ios. 6d. net), one of the
volumes in the (i College Histories of
Ait,” edited by Professor John C. Van
Dyke, of Rutgers College. First published
in 1896, this text-book has undergone
successive revisions, and now appears in
completely re-set type, with a large
number of illustrations, a glossary of
technical terms and other features of
value to the student, a a a a
Messrs. B. T. Batsford, Ltd., have
recently published a third edition of
Messrs. Wells and Hooper’s Modern
Cabinet Work, Furniture and Fitments
(25s. net). This work, which, since its
first publication in 1909, has become
increasingly popular as a standard work
on the subject, now contains over a thou-
sand illustrations in the shape of workshop
drawings, photographs, and designs. 0
A recent addition to the Medici Society’s
series of large reproductions in colour
is one after Mr. A. J. Munnings’s brilliant
picture Gipsies arriving on Epsom Downs
for Derby Week, an illustration of which
has appeared in The Studio. 0 0

From the British Museum we have
several packets of Pictorial Cards (post-
card size) reproducing old engravings and
drawings in monochrome and miniatures
in colours from originals in the Museum
Collections, the subjects of nearly all being
the Nativity and Epiphany. 0 0

Mr. Hesketh Hubbard asks us to explain
that his picture Rostock's Circus, repro-
duced in our last issue as an acquisition of
the Tate Gallery, has in fact been merely
stored there by the Contemporary Art
Society, who purchased it. He regrets that
incorrect information as to this was com-
municated to us. 0 0 0 0