36 
HXRAMIC STUDIO 
will have done much to arouse an interest in the Arts and 
Crafts movement, which it is hoped will take substantial shape 
in the near future. One of the chief merits of the exhibit was 
its condensed form and the artistic manner in which the ex- 
hibits were arranged. In bookbinding, pottery, stained glass, 
wood-carving, embroidery, leather and metal work, and in 
other forms of applied art, there was much to appeal to per- 
sons of refinement. The exhibit included examples of the 
work of artistic craftsmen from all parts of the United States 
and a number of pieces from Europe. Among the latter was 
one of the famous " Golfe Juan " vases of iridescent coloring, 
designed and executed by Clement-Massier, Paris, which was, 
undoubtedly the finest piece of pottery in the gallery. This 
was one of the three pieces from the Mediterranean Pottery, 
chosen for the Paris Salon, and is now the property of B. 
Wilson Tripp of Providence. There was also a beautiful and 
interesting Dutch interior scene on tiles, by Aetz, made by 
Rosenberg Pottery, Hague. The exhibit comprised ex- 
amples of the Grueby Pottery, Boston, the Newcomb Pot- 
tery, New Orleans, the Rookwood Potteries of Cincinnati, 
Ohio, the Crown Point Pottery, designed by Charles Volkmar 
of New York ; rare book-bindings and books from the Roy- 
croft presses, New York, and the Kelmscott Press of William 
Morris, England ; bindings from Otto Zahn of Memphis, 
Tenn.; posters and calendars designed by Mucha, one of the 
foremost illustrators of Europe; pieces of the famous Tiffany 
Favrile glass and stained glass windows from Tiffany, New 
York ; metal work from Charles H. Barr of East Greenwich, 
R. L, and a wrought iron grille by Frederick Krasser of Bos- 
ton, the finest piece of metal work in the exhibit; laces and 
bead work from the Indian Reservation ; textiles from Berea 
College, Kentucky ; carved chests and cabinets, unique and 
beautiful designs in brass and copper, and jewelry. The most 
attractive feature of the entire exhibit was the pottery, which 
was artistically arranged on improvised stands at the end of 
the gallery. There were pieces of the Rookwood pottery in 
golden brown tones with highly polished surfaces, and speci- 
mens of the Grueby Pottery in mellow greens, the Merrimac 
Pottery also in greens, and the Newcomb Pottery, made by 
the girls of Newcomb College, New Orleans, in velvety blues 
in unique and beautiful designs, no two pieces being alike. 
The upper tier in the centre of the display was occupied by 
the exhibit of Tiffany Favrile glass, the Peacock vase with all 
the iridescent colors of the feathers repeated in the tones of 
the vase, being the finest piece in the collection. Four large 
lamps with transparent Favrile glass globes occupied the cor- 
ners of the exhibit. The most attractive example of the 
Grueby ware exhibited was a graceful vase embodying an 
adaptation of the calla lily, both leaves and flower reproduced 
in natural colors. Of the Crown Point Pottery, a flower- 
shaped pitcher was especially lovely. 
Included in the keramic exhibit was a small but choice 
collection of decorated china, designed and executed by the 
following: Plate, conventional cyclamen, designed by Miss 
Emily Crouch ; vase, conventional butterfly design in blue, 
black and gold, by Miss Louise M. Angell ; cup and saucer, tur- 
quoise blue with jewels, by Miss Laura Washburn ; plate in 
lustres, by Mrs. Fannie Rowell, and a punch bowl, conventional 
poppy design, by Percy J. Callowhill. 
Grace L Slocum. 
DAFFODIL CUP AND SAUCER 
K. B. Focke 
THIS design is intended for a tall, 
slender cup, and may be treated 
as follows; the dotted portion of de- 
sign tinted dark green, and lower part 
of cup, and entire center of saucer, sil- 
ver yellow. Leaves a delicate green 
outlined with flat gold. Flower, pale 
yellow, accented with enamel, and 
shaded and outlined with gold. 
The straight band within the sau- 
cer is intended for the decoration on 
the cup. 
