DOI Heft:
Division I: Great Britain
DOI Artikel:Vallance, Aymer: British stained glass, pottery & metalwork
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19999#0175
BRITISH STAINED GLASS, POTTERY, AND METAL WORK
Messrs. Pearce (B 195). Other landscape work occurs, incidentally,
in the background of Mr. Oscar Paterson's hall window (B 171) and
of Messrs. Wm. Morris & Co.'s panel, entitled " The Youth of
Bacchus" (B 170). All such effects as these are decidedly novel
and, in fact, such as were unknown to mediaeval glass painters. They
prove, however, what lengths of naturalism it is possible to arrive
at, even within the rigid limitations of a material like stained glass.
Even colour reproduction but poorly expresses the exquisite
iridescent sheen of silver and red lustre such as distinguishes the hand-
some plaque of St. George and the Dragon by Mr. Walter Crane
(B 197)- This seems to be a theme of inexhaustible possibilities, for,
well worn and familiar though it is, the artist has devised for it a fresh
treatment in the way in which the monster with its scaly coils is
made to encircle the medallion of the equestrian saint in the centre.
In not a few of the other examples the influence of precedent
is strong. For instance, in Messrs. Pilkington's " Lancastrian"
vases are shown variegated and striated glazes after the manner of
ancient Chinese ware. Of these, B 199 is mainly of purple, B 202,
of blue opalescent glaze. Some of the " Ruskin " Pottery (B 211)
is not dissimilar in treatment. Other pieces, again, like Messrs.
Pilkington's vase (B 200) and plaque (B 201), both based on
heraldic motifs, suggest the influence, in the first case, of Hispano-
Moresque ware, in the second case, of Italian majolica. Others,
e.g., the bottom bowl in the group of Mr. Powell's pottery (B 212),
are suggestive of Anatolian floral fancies ; while the ship on the
" Columbus" vase (B 198), greatly though it may differ in detail,
cannot but remind one of the feluccas which are a favourite motif 'in
Rhodian ware. The Martin Brothers (B 210) derive their inspiration
largely from natural objects, such as the scales of fish or snakes, the
mottled surface of egg shells or the veining of foliage and sea-shells.
In metalwork it is satisfactory to find eminent artists like
Mr. C. F. A. Voysey devoting their attention to beautifying the
homely but indispensable accessories of the table (B 213 to 216).
The handsome weather-vane in the form of a ship, fully rigged
(B 228), was designed and executed by Messrs. Bainbridge Reynolds
for the tower of the Royal Naval College at Osborne, Isle of Wight.
The same firm also contribute a selection of wrought iron hinges and
other door-furniture in simple but artistic treatment (B 232 to 238).
Lastly, attention must be drawn to the rain water heads (B 239 and
B 240) as well as the garden tank (B 241), all three objects in lead,
by Mr. George Bankart, whose excellent work in this material is
deservedly accorded a high place, as representing, in the best sense,
the adaptation of sound methods of old craftsmanship to new motifs
in ornamental design.
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Messrs. Pearce (B 195). Other landscape work occurs, incidentally,
in the background of Mr. Oscar Paterson's hall window (B 171) and
of Messrs. Wm. Morris & Co.'s panel, entitled " The Youth of
Bacchus" (B 170). All such effects as these are decidedly novel
and, in fact, such as were unknown to mediaeval glass painters. They
prove, however, what lengths of naturalism it is possible to arrive
at, even within the rigid limitations of a material like stained glass.
Even colour reproduction but poorly expresses the exquisite
iridescent sheen of silver and red lustre such as distinguishes the hand-
some plaque of St. George and the Dragon by Mr. Walter Crane
(B 197)- This seems to be a theme of inexhaustible possibilities, for,
well worn and familiar though it is, the artist has devised for it a fresh
treatment in the way in which the monster with its scaly coils is
made to encircle the medallion of the equestrian saint in the centre.
In not a few of the other examples the influence of precedent
is strong. For instance, in Messrs. Pilkington's " Lancastrian"
vases are shown variegated and striated glazes after the manner of
ancient Chinese ware. Of these, B 199 is mainly of purple, B 202,
of blue opalescent glaze. Some of the " Ruskin " Pottery (B 211)
is not dissimilar in treatment. Other pieces, again, like Messrs.
Pilkington's vase (B 200) and plaque (B 201), both based on
heraldic motifs, suggest the influence, in the first case, of Hispano-
Moresque ware, in the second case, of Italian majolica. Others,
e.g., the bottom bowl in the group of Mr. Powell's pottery (B 212),
are suggestive of Anatolian floral fancies ; while the ship on the
" Columbus" vase (B 198), greatly though it may differ in detail,
cannot but remind one of the feluccas which are a favourite motif 'in
Rhodian ware. The Martin Brothers (B 210) derive their inspiration
largely from natural objects, such as the scales of fish or snakes, the
mottled surface of egg shells or the veining of foliage and sea-shells.
In metalwork it is satisfactory to find eminent artists like
Mr. C. F. A. Voysey devoting their attention to beautifying the
homely but indispensable accessories of the table (B 213 to 216).
The handsome weather-vane in the form of a ship, fully rigged
(B 228), was designed and executed by Messrs. Bainbridge Reynolds
for the tower of the Royal Naval College at Osborne, Isle of Wight.
The same firm also contribute a selection of wrought iron hinges and
other door-furniture in simple but artistic treatment (B 232 to 238).
Lastly, attention must be drawn to the rain water heads (B 239 and
B 240) as well as the garden tank (B 241), all three objects in lead,
by Mr. George Bankart, whose excellent work in this material is
deservedly accorded a high place, as representing, in the best sense,
the adaptation of sound methods of old craftsmanship to new motifs
in ornamental design.
xxvi