RERAMIC STUDIO 
MISS ALUS MISS BEACH MRS. DOREMUS MRS. HOLZEB MRS. LIBBY MISS McCORD 
PARTS OF THE LUNCHEON SERVICE 
MRS. SAILER 
THT ART LEAGUE OF BRIDGEPORT, CONN. 
Martha E. Beach. 
MORE than three years ago the Art League of Bridge- 
port, Conn., became imbued with the determination 
to do all in its power to raise Ceramics to the level of the 
other crafts, to apply to china only designs that had been 
carefully thought out according to the principles under- 
lying all art. In order to be well guided in the right di- 
rection, a class was formed in connection with the League, 
under the instruction of Marshal Fry of New York, who 
seeing the possibilities of interesting work with serious 
students entered heartily into the task of training mind 
and hand to create instead of to imitate. The old ways 
were abandoned and the new Art-educational System, 
constructed by Prof. Fenollosa and adapted to practical 
use by Mr. Arthur Dow, was adhered to. Individuals 
and classes all over the country have taken up with enthus- 
iasm the so-called "New Method," but the Bridgeport 
Art League is perhaps the only Club that has persistently 
worked towards the high standards of composition and 
craftsmanship that are now being maintained by the var- 
ious exhibitions that have for their object the elevation 
of Art. That the League has progressed is proven by its 
having been well represented at an Exhibition of the Nation- 
al Arts Club in New York in the Spring of 1905, and also 
at the Arts and Crafts Exhibition of the National Society 
of Craftsmen held in December, 1906. In its own Spring 
Exhibition held each year the aim is more and more for 
quality rather than quantity, the committee believing 
that a small exhibit of comparative excellence is better 
than a larger one of ordinary character. One feature of 
the exhibition of 1906 was a luncheon table set with nine 
covers, each cover representing one course, and including 
all the necessary dishes. This was the work of fourteen 
members, working individually with no restriction other 
than the general color scheme, gold, green and white, and 
yet the effect was so pleasing in its simplicity, restraint 
and quiet elegance that much admiration was elicited from 
the visitors. Another feature that attracted much atten- 
tion was the printing of textiles from wood-blocks, the 
same principles applying to the designs as in the ceramic 
work. These units of motifs were printed on linen, silk 
and even crepe de chine for table spreads, pillow covers and 
for scarfs and dress trimmings. Even the dyeing of the tex- 
tiles had been undertaken to get tints desired and which 
could not be found in stores. 
It is hoped in time other crafts will be taken up and 
courses of lectures will be arranged that will tend to broad- 
en still further the scope of work and develop the feeling 
already existing in a degree, of the supremacy of the hand 
over the machine in crafts making a claim to artistic work. 
IN doing creative work, or in teaching, it is necessary to 
have at one's disposal reproductions of fine things which 
will suggest and stimulate. It is particularly difficult to find 
examples of fine color, as it is seldom possible to own rare 
prints and textiles, and many of us are not within reach of 
the museums. 
Mr. Dow, realizing this need on the part of designers 
and teachers, conceived the idea of producing a series of 
small color prints which might be fine examples of color 
and texture, and yet be inexpensive and so be within the 
reach of all who should need them. Two sets or series of six 
prints each, were issued, the first one being no longer avail- 
able as a complete series. As an extra number was issued of 
two prints of this set, "March Island" and "Lily," they are 
to be had as separate prints, as is also "The Willows," a 
twilight scene, which was published as a single print. These 
prints have proved of great value to me in my teaching, and 
in my creative work. 
Kotayashi, lately of Boston, Mass., the Japanese pub- 
lisher, has recently brought out some small color prints 
which are also of interest and use to designers and teachers. 
Many of them are reproductions from fine and well known 
works by Japanese masters, Hokusai, Hiroshigi and others. 
They are very inexpensive. There are also many little Jap- 
anese books which are suggestive to the ceramic worker, 
books with drawings of flowers, fruits and birds. 
Marshal Fry 
