Studio: international art (89.1925)

DUBLIN—BROCKENHURST—BRUSSELS

CASKET. BY MISS
MIA CRANWILL

essence of this jewel form of painting.
Her work is an example of the almost
super-masculine strength which marks the
best of modern feminine art. J. W. S.

DUBLIN. — The Dublin Sketching
Club celebrated its jubilee with its
fiftieth annual exhibition held in Decem-
ber at the Mills' Hall, Dublin, and judging
by the amount and standard of the works
shown there is every likelihood of its con-
tinuing to prosper for fifty years to come,
notwithstanding the fact that it has never
received encouragement or support of any
kind from the State. Several of the small
band of original members still survive,
notably Mr. Alexander Williams, the
secretary, whose landscapes have always
been a popular feature at every exhibition.

Senator Mrs. Alice Stopford Green, the
well-known historian, and widow of the
even better-known historian J. R. Green,
has just presented to the Senate a remark-
able casket, here illustrated, the work of
Miss Mia Cranwill. It is made of gold,
silver and enamel, on a copper foundation,
and was intended by the donor to contain
the original roll of the first Senate of the
Irish Free State. The Senate, in accepting
with gratitude this munificent gift, passed
a resolution that the eloquent message
which accompanied it should be preserved
in perpetuity within it, with the roll. This
casket is the only piece of regalia pos-
sessed by either House of the Irish Parlia-
ment, and its brilliance strikes a welcome
note in the somewhat drab chamber where
the Irish Senate meets. T. B.

106

BROCKENHURST (Hants). — The
" Forest Press," which has now been in
existence for a little over a year, was founded
by Mr. E. Hesketh Hubbard with the aim
of printing and publishing a series of in-
expensive colour-prints. A cottage near
the New Forest has been acquired (to
which visitors desirous of seeing how the
process is carried out are welcome), and
the prints can be sent out on approval to
prospective purchasers. We illustrate two
examples on the opposite page. 0 0
The prints are not intended for the big
collectors ; they are for men and women
who cannot afford to collect pictures,
etchings, statuettes and original drawings—
in short, for people who have to think in
shillings, not pounds. Some have found
their way into the portfolios of wealthy
collectors, and some have been acquired
by public art galleries for their permanent
collections, but it is for the man who has
never before realised that original signed
prints are not the exclusive preserve of the
wealthy that the Press endeavours to cater.
This enterprise is to be commended to the
attention of all owners of the small home
who desire to beautify its interior. 0

BRUSSELS. — Amedee Hamoir was
born at Brussels in 1884. His training
was cosmopolitan and his activities have
been international and complex. He was
intended for business in the first place,
and his first instructors in art were simply
the kind who aim at giving children the
opportunity of acquiring elegant accom-
plishments. But his evident ability pointed
to his true vocation, so he went to Paris
and there studied seriously, first in various
private schools, and then in the studios of
F. Charpentier and A. Seysses. 0 0
In 1910 he gained a medal at the Salon
des Artistes Francais, and one of his works
was put in the Ixelles Museum. During
the War he did not hesitate to give up
his art-work, and devote himself to more
momentous tasks. In England, France,
Switzerland, and finally in Brazil he did
yeoman service for the Belgian cause,
helping with work for the wounded and
prisoners of war. 0000
His studio was situated in the invaded
territory, and all his works and sketches
there were destroyed. Since the Armistice