1^2 
KERAMIC STUDIO 
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CERAMICS AT THE ST. LOUIS EXPOSITION 
IT was mis-stated in the last article on the St. Louis ce- 
ramics, that the exhibit of Prof. Kornhas of Karlsruhe 
was similar to that of Prof. Max. Lauger. The mistake was 
due to an illegible name in the notes. As a matter of fact 
the work of Prof. Kornhas was quite different as the accom- 
panying illustrations wiU demonstrate. Some of the pieces 
show very interesting copper crystal glazes. The exhibit 
of the Royal Berlin factories was perhaps the most varied in 
crystal effects of any exhibit at St. Louis. 
The ceramics from Great Britain were not as much in 
evidence as might be desired, but what was shown was good 
and interesting. Perhaps the work exhibiting the rarest 
skill is that of M. Solon, a Frenchman who has long natural- 
ized himself in England. His work we have illustrated 
before, but no one will regret seeing new specimens. This 
work is what is called pate sur pate, a cameo effect ob- 
tained by delicately painting white slip upon a dark ground , 
building up and modelling the figures by almost impercepti- 
ble degrees until the desired relief is obtained . The shapes 
of the vases, and especially the handles, are rather more 
eccentric and ornate than desirable, but the pate sur pate 
work is certainly of a very superior quality. 
Of a quite different genius, but equally clever, is the 
work of his son, Leon V. Solon. Executed upon panels and 
simply framed, the effect is rather that of a color drawing 
touched here and there with enamels and gold. The general 
surface has the almost glazeless effect of the old Italian 
painting upon a stannifer ground. The designs and draw- 
ings are exquisite, the color subdued and yet rich. The work 
of the elder Solon was to be found mostly in the exhibit of 
Mintons, Stoke on Trent. 
Perhaps of the large potteries Doulton & Co. showed the 
greatest variety. Beside the famiHar painted and gold dec- 
orated work, were the now famous Doulton reds, brilliant in 
color and a puzzle to potters, who wonder how these colors 
are produced at a comparatively low heat, and question 
whether it is a true flambe red or an enamel. The presence 
here and there of sharp patches of brilliant yellow and tur^ 
quoise green, like sharply cut maps of North and South 
America, adding to the wonderment if not to artistic admir- 
ation. Doulton & Co. also showed a lot of nice brown and 
yellow salt glazed pottery, copying old jugs and three 
handled mugs or loving cups. Beside this was a lot 
of vases in rather the style of L 'art della ceramica of 
Florence except that the outlines were raised. 
Pilkington &]^Co. exhibited a few sets of majolica tiles 
designed by Lewis Dey. These were rich in color and inter- 
esting in design. One set was in blue, green and violet; 
others in red browns, greens and blues. The art pottery we 
were unable to find, but there appeared a description by 
A. V. Rose in the Pottery Gazette. 
RUSKIN POTTERY. 
POTTERY— PROP. MAX LAUGEJC, KARLSRUHE. 
The Ruskin Pottery was the most interesting shown in the 
arts and crafts section. The glaze was high and the colors 
rich, the forms simple and good. We add a letter from the 
pottery which will give a better idea of the work .than any- 
thing we could say. 
The Ruskin Pottery is made by W. Howson Taylor, 
member of the London Arts and Crafts Exhibition So- 
ciety, and his father, Edward R. Taylor, Associate of the 
Royal College of Art, London, retired head Master of the 
Birmingham Municipal Schools of Art and who, until he 
turned his attention to pottery, was a fairly constant exhi- 
bitor of oil paintings at the Royal Academy, London, and 
other exhibitions. 
The little pottery w^as built and experiments com- 
menced about five vears ago. The results were first ex- 
