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REVUE MENSUELLE AVEC TRADUCTION FRANÇAISE THE·STUDIO An Illustrated Magazine of Fine & Applied Art MAY 15 1907 VOL. 40 No. 170 44 Leicester Square LONDON·W·C Monthly BUREAU DU STUDIO PARIS LIBRAIRIE OLLENDORFF 50 CHAUSSÉE D’ANTIN PRIX: 1 FRANC 60¢ NET
THE STUDIO. EDITED AND PUBLISHED BY CHARLES HOLME. Contents, May 15, 1907. SUPPLEMENTS:—A COLOURED REPRODUCTION OF A PORTRAIT OF "DR JOACHIM," BY P. A. LASZLO; a tinted reproduction of a portrait of "PRINCESS WINDISCH-GRAETZ," by P. A. LASZLO; a coloured reproduction of a water-colour by OLIVER HALL, ENTITLED "ALONBY"; a coloured reproduction of T. HAMILTON CRAWFORD'S DRAWING OF "NO. 8, ADDISON ROAD, KENSINGTON" HALSEY RICARDO, Architect; a reduced facsimile reproduction of a book illustration, by JESSIE M. KING; a coloured reproduction of an etching in colours by FRANCOIS E. SIMON, entitled "VENISE." A HUNGARIAN PORTRAIT PAINTER: PHILIP A. LASZLO. By Dr. GABRIEL von TERREY. Sixteen Illustrations ...
ROWNEY'S Registered SKETCHING CASE Reg. No. 270111. THOUSANDS of this handy Invention are already IN USE. These Cases are not supplied without Colours, but any may be selected, and the difference in the price of the Colours from the usual arrangements charged or allowed for. MADE IN THE TWO FOLLOWING SIZES: - “8vo Impl.” containing a 12-leaf Whatman Block, 10 in. by 7 in., and a Pocket for Loose Sketches, Pencil, Two Sable Hair Brushes, and Twelve Artists’ Colours (usual arrangement). PRICE 15s., FITTED COMPLETE. - “16mo Impl.” containing a 12-leaf Whatman Block, 7 in. by 5 in., and a Pocket for Loose Sketches, Pencil, Two Fitch Hair Brushes, and Nine Artists’ Colours (usual arrangement). PRICE 10s. 6d., FITTED COMPLETE. A Japanned Tin Palette opens out when the Case is in Use, as shown in above illustration. Manufactured only by Geo. ROWNEY & Co., 61 Brompton Road, S.W. ARTISTS’ COLOURMEN and PENCIL MAKERS. To be obtained from all Artists’ Colourmen throughout the Kingdom. --- REEVES’ ARTISTS’ COLOURS ARE MANUFACTURED FOR ARTISTS (not Amateurs); THE PROCESSES ARE SUPERVISED BY CHEMISTS TRAINED SPECIALLY IN THE PREPARATION OF ARTISTS’ COLOURS; THE COLOURS ARE TESTED AND REPORTED UPON BY ARTISTS. THIS IS WHY REEVES’ ARTISTS’ COLOURS ARE SUPERIOR TO THOSE MADE PRINCIPALLY FOR AMATEUR USE—SUPERIOR IN STRENGTH, IN TONE, IN QUALITY, IN PERMANENCE. REEVES & SONS HAVE NO SECRETS FROM GENUINE ARTISTS, BUT GIVE FULL INFORMATION. AD. I
RULES OF 'THE STUDIO' INTERNATIONAL PRIZE COMPETITIONS. (1) All purchasers of THE STUDIO are eligible to compete. (2) Designs and Compositions must be original and not traceable to any existing pattern. New ideas and new treatment, combined with workable detail and arrangement, will be the features considered by the judges. (3) Drawings, &c., submitted for competition must be legibly signed with pseudonym only, and must be accompanied by the Coupon given below, duly filled in and signed. Such coupon must be enclosed in a sealed envelope, on the outside of which is written only the pseudonym of the competitor. This envelope will not be opened until after the awards have been made. (4) The Proprietor of THE STUDIO reserves to himself the right of withholding all or any of the prizes if the rules of the Competition have not been complied with, or if in the opinion of the judges the drawings, &c., are of insufficient merit. He also reserves to himself the right to reproduce in THE STUDIO, or any Extra Number of it, at such a time as he thinks fit, any of the drawings, designs, photographs and other works submitted. Subject to this, the copyright in such drawings, &c., belongs (unless otherwise stated or implied in the announcement) to the competitors sending them, and they are free to dispose of them as they like. (5) All Drawings, &c., including those to which prizes have been awarded (unless otherwise stated), will be returned to Competitors at their own risk as soon as possible after publication of the awards, provided sufficient stamps are sent in the envelope containing the coupon to cover postage or carriage and packing—the minimum in all cases being sixpence. Colonial and foreign stamps will be accepted. (6) All drawings, prints, &c., must be claimed within one month after the publication of the awards (except those sent from remote countries, for which a period of four months will be allowed), failing which they may be disposed of as the Proprietor of THE STUDIO thinks fit. He will under no circumstances hold himself responsible for the loss or damage of any drawings, photographs, &c., in whatever way such loss or damage may arise. (7) All drawings, &c., must be sent in packed flat, except where otherwise expressly stated. (8) All designs, drawings, prints, &c., and correspondence thereon to be addressed THE STUDIO, 44 Leicester Square, London, W.C., and marked "Prize Competitions," with the number of the Competition on the outside of the package or letter referring to it. (9) An infringement of any of the above Rules will disqualify a Competitor, and the decision of the Editor shall be final on all questions arising thereunder. CLASS A. DECORATIVE ART. Closes June 1 A XLIII. DESIGN OF FONT FOR A SMALL CHURCH. June 1 A XLVI. DESIGN FOR THE FRONT COVER OF "THE JOURNAL OF THE GYPSY LORE SOCIETY." July 1 A XLVII. DESIGN FOR THE FRONT COVER OF "SHORT STORIES." Aug. 1 A XLVIII. DESIGN FOR A SIMPLE COTTAGE PORCH. (Particulars of the above appeared in the February, March and April Numbers respectively.) Sept. 1 A XLIX. DESIGN FOR A MOTOR RACE TROPHY. The form which the trophy should take is left to the discretion of competitors, the only stipulation being that it should be significant of a motor-car race. Drawings are to be in black-and-white and not exceed 18 inches by 12 inches in size. FIRST PRIZE: Three Guineas; SECOND PRIZE: Two Guineas. Drawings, packed flat, are to reach the London office of THE STUDIO by Sept. 1. CLASS B. PICTORIAL ART. June 1 B XXXIII. STENCIL FRIEZE FOR A DRAWING-ROOM. July 1 B XXXIV. PORTRAIT STUDY IN LEAD PENCIL. B XXXV. DESIGN FOR A SHOW-CARD FOR "THE STUDIO." (Particulars of the above appeared in the February, March and April Numbers respectively. N.B.—In the announcement of B XXXIV the date for sending in was given as June 1; it should have been July 1.) B XXXVI. PEN-AND-INK DRAWING OF A BOOK ORNAMENT. The ornament is to be such as may be suitable for printing in the centre of a blank page in one of THE STUDIO Special Numbers. Drawings submitted must be not more than 12 inches by 9 inches, and those to which the prizes are awarded are to become the property of the Proprietor of THE STUDIO, who is to have the option of purchasing other drawings for half-a-guinea each. FIRST PRIZE: Two Guineas; SECOND PRIZE: One Guinea. Drawings, packed flat, to reach the London office of THE STUDIO by Sept. 1. CLASS C. PHOTOGRAPHS FROM NATURE. C XXXIII. LANDSCAPE IN STORMY WEATHER. C XXXIV. LANDSCAPE WITH SHEEP AND LAMBS. C XXXV. AQUATIC PLANTS IN THEIR NATURAL HABITAT. C XXXVI. A WOODLAND SCENE. All photographs should be sent in mounted upon firm cards, with a margin not exceeding half-an-inch in depth. FIRST PRIZE: One Guinea; SECOND PRIZE: Half-a-Guinea. Photographs to be received at the London office of THE STUDIO by June 1 for C XXXIII, July 1 for C XXXIV, August 1 for C XXXV, and Sept. 1 for C XXXVI. COMPETITION COUPON. To be cut off and forwarded in accordance with Rule 3. May 15, 1907.—This form can be used for any or all of the Competitions announced for the first time in this number. Pseudonym Competition No.: Stamps enclosed: Full Name and Address AD. II
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ART EXHIBITIONS—BRITISH & FOREIGN. LONDON.—Royal Academy. Burlington House, W. Summer Exhibition. Closes Aug. 5. New Gallery. Regent St. Summer Exhibition. Closes early in August. Royal Society of Painters in Water-Colours. 54 Pall Mall East. Closes June 29. Royal Inst. of Painters in Water-Colours. 195 Piccadilly, W. Closes May 31. Royal Society of British Artists. Suffolk St., Pall Mall. Closes Aug. 3. The Pastel Society. 195 Piccadilly, W. June 8–July 12. Grafton Galleries. Entente Cordiale Society. Gulahall. Exh. of works by Danish artists. Closes July 13. BOLTON.—Art Gallery. Closes end of Aug. CONWAY.—Royal Cambrian Academy. May 20–Sept. 28. DERBY.—Corporation Art Gallery. Summer Exhibition. May to August. DUBLIN.—Irish International Exhibition. Open till October. DUNDEE.—Art Society. Spring Exhibition. Closes May 25. EDINBURGH.—Royal Scottish Academy. Closes end of May. GLASGOW.—Institute of Fine Arts. Closes June 1. HERTFORD.—Hertfordshire Art Society. Corn Exchange. June 11–14. LEEDS.—City Art Gallery. Spring Exhibition. Closes May 31. NOTTINGHAM.—Society of Artists. May 27–June 15. BADEN-BADEN.—Städtische Kunstausstellung. Open till end of Nov. BARCELONA.—Fifth International Art Exhibition. Till July 15 and in Autumn. BERLIN.—Grosse Berliner Kunstausstellung. Open till Sept. 29. Verein “Berliner Secession.” Kurfürstendamm 208/9. Open till the Autumn. COLOGNE.—Kunst- und Kunstgewerbe-Ausstellung. May–Oct. Fine and Applied Art. DÜSSELDORF.—Deutsch-Nationale Kunstausstellung. Städtisches Kunstpalast. May 11–Sept. 29. INNSBRUCK.—Tiroler Künstlerbund. 4th Ann. Exh. June–Oct. Maria Theresien str. 20. LUCERNE.—Kunstgesellschaft. May–Middle Oct. MANNHEIM.—Tercentenary Exhibition. (Art and Horticulture.) May 1–Oct. 20. MUNICH.—Secession. 10th International Exh. June–Oct. Secretary, I Königsplatz. PARIS.—Société Nat. des Beaux.Arts (Salon). Open till June 30. Société des Artistes Français (Salon). May–June. PRAGUE.—Kunstverein für Böhmen. 68th Ann. Exh. Closes end of May. Address, Rudolfinum, Prague. SALZBURG.—Künstlerhaus and Kunstverein. June 15–end of Sept. VENICE.—Seventh International Art Exhibition, 1907. Apr. 22–Oct. 31. VIENNA.—Künstlergenossenschaft. Closes end of May. Künstlerbund Hagen. Closes beg. of June. “Secession.” Real Conversations. I. A Talk to a Student. “My dear boy,” said a well-known Illustrator recently, “I understand your trouble exactly. I’ve been there myself. You’ve worked hard, you’re a thoroughly capable and promising student, and now you’re dejected at your failure to turn out saleable black-and-white work.” “Yes, that’s it, and I feel that I’m groping about in the dark, for the Art Schools really know hardly anything about professional illustrating, and Editors won’t tell you where you’re wrong. How did you manage when you were in my present stage?” “Just as you’re doing. I worried, I did drawings in dozens, I had them fired back at me, and then I worried again. Of course, I hadn’t the faintest idea why the work wasn’t used. And I might have gone on worrying—grimly slogging away at the same old drawings, and papering the studio with the same old rejection form—for years, had I not, one day, met a professional illustrator. “He was a good sort, and he showed me, in five minutes, that the Art School had taught me absolutely nothing of the treatment necessary to ensure professional success, that I had been submitting my work to the most unsuitable papers, and, generally speaking, he gave me more advice, of practical commercial value, in those few minutes, than I had received during years of ordinary Art School tuition. “Since that time I have never looked back. I’m so busy now that I have a difficulty to get my work in to time.” “Well, what do you advise me to do? I’m getting utterly disheartened.” “Frankly, if you want to save yourself months—perhaps years—of disappointment, you must have practical professional advice by a man who has ‘been through the mill.’ You don’t want conventional Art School study, but you do want your work thoroughly overhauling and your technique developing; and you require a complete insight into the production of the various types of work that are saleable, together with all possible business information relating to the publishing world.” “Yes, that’s just exactly what I do want—real help in both the production and sale of my drawings—but how on earth can I get it?” “Fortunately, you students of the present day have no difficulty. You need not waste any more time. Write at once to The Press Art School, which gives an invaluable Course of Instruction by Post. Send a stamp for their Illustrated Prospectus, to-day. They’ll do their utmost for you. Here’s their address:— The Secretary, THE PRESS ART SCHOOL, 128 Drakefell Road, New Cross, S.E. AD. IV TONK’S, LTD., 201 MOSELEY ST. BIRMINGHAM. TWO-LIGHT ELECTRIC CANDLE BRACKET M. 54 ELECTRIC BRACKETS PUSHES PENDANTS SWITCHES SUITES
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The AUTOTYPE FINE ART GALLERY 74 New Oxford Street, LONDON, W.C. OPEN FREE DAILY FROM 10 TO 6 AUTOTYPE CARBON REPRODUCTIONS OF FAMOUS WORKS OF ART. Pictures for Presents and Home Decoration. A VISIT OF INSPECTION INVITED. THE HISTORY OF PAINTING From the Fourth to the Early Nineteenth Century. By RICHARD MUTHER, Ph.D., Translated from the German, and Edited, with Critical Notes By GEORGE KRIEHN, Ph.D., With 85 Illustrations, 2 vols. 8vo, cloth extra, gilt tops, uncut edges, in box, 21s. net. CONTENTS. I.—MEDIÆVAL PAINTING. Chap. I.—The Middle Age. II.—The Aftergrowth of the Mediaeval Style in the Fifteenth Century. II.—THE RENAISSANCE. Chap. I.—Nature and Antique. II.—The Religious Reaction. III.—Painting in Germany and the Netherlands during the Reformation. IV.—The Triumph of Sensuality in Italy. V.—The Majestic and Titanic Period. VI.—The Union of the Styles. VII.—The Struggle of Venice and Spain against Rome. III.—THE SEVENTEENTH AND EIGHTEENTH CENTURIES. Chap. I.—Italian Painting in the Seventeenth Century. II.—The Religious and Realistic Art of Spain. III.—The Rise of Dutch Painting. IV.—The End of Dutch Painting. V.—The Aristocratic Art of France. VI.—The Triumph of the Bourgeoisie. “Eminently readable and stimulating; should find a place upon the shelves of every art library.”—Observer. “For a conception of the charm of the author’s style and the comprehensive nature of his treatment of the various masters influencing the styles and phases of art, we must refer the reader to the work itself.”—Belfast Northern Whig. “This new ‘History of Painting’ is an eminently pleasing work.”—Daily Graphic. “Prof. Kriehn’s translation is . . . admirable . . . The illustrations to the volumes are copiously and well got-up.”—Morning Post. Send for New Announcement List. G. P. PUTNAM’S SONS, 24 Bedford St., Strand, London; and NEW YORK. AD. VI BELL’S CATHEDRAL SERIES. Profusely Illustrated. Cloth, crown 8vo, 1s. 6d. net each. “For the purpose at which they aim they are admirably done, and there are few visitants to any of our noble shrines who will not enjoy their visit the better for being furnished with one of these delightful books.”—Notes and Queries. NEW VOLUMES. BANGOR. By P. B. IRONSIDE BAX. LLANDAFF. By E. C. MORGAN WILLMOTT, A.R.I.B.A. ROMSEY ABBEY. By Rev. THOMAS PERKINS, M.A. Volumes are also issued on: ENGLISH CATHEDRALS --- HEREFORD. --- ST. PATRICK’S, --- An Itinerary and Description. --- LICHFIELD. --- DUBLIN. --- BRISTOL. --- LINCOLN. --- ST. PAUL’S. --- CANTERBURY. --- MANCHESTER. --- ST. SAVIOUR’S, --- CARLISLE. --- NORWICH. --- SOUTHWARK. --- CHESTER. --- OXFORD. --- SALISBURY. --- CHICHESTER. --- PETERBOROUGH. --- SOUTHWELL. --- DURHAM. --- RUTON. --- WELLS. --- ELY. --- ROCHESTER. --- WINCHESTER. --- EXETER. --- ST. ALBANS. --- WORCESTER. --- GLOUCESTER. --- ST. ASAPH. --- YORK. --- ST. MARTIN’S CHURCH, CANTERBURY. --- ST. DAVID’S. --- Tewkesbury Abbey & Deerhurst Priory. --- Beverley Minster. --- Bath Abbey, Malmesbury Abbey, and Bradford-on-Avon Church. --- Wimborne Minster & Christchurch Priory. --- Stratford-on-Avon. --- Westminster Abbey. --- BELL’S HANDBOOKS TO CONTINENTAL CHURCHES. Profusely Illustrated. Crown 8vo, cloth, 2s. 6d. net each. “For compression, for taste and selection of material, good illustrations, accuracy of advice and description, and that larger quality which for want of a better word we usually call companionableness, we know few better or cheaper guides than these.”—Pall Mall Gazette. Chartres. --- Amiens. --- Mont St. Michel. --- Rouen. --- Paris (Notre Dame) --- Bayeux. --- LONDON: GEORGE BELL & SONS, YORK HOUSE, PORTUGAL STREET, W.C.
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This issue of "The Studio" features a monthly review with a French translation. It includes reproductions of portraits by P. A. Laszlo, a watercolour by Oliver Hall, and an etching by Francois E. Simon. The content also covers a Hungarian portrait painter, Philip A. Laszlo, and announces international prize competitions for decorative art.