[BRITISH LINO-CL - TS. THE REDFERN GALLERY.]
Those responsible for the first exhibition of British Lino-Cuts have made certain that we shall have plenty to look at, for they have got together nearly a hundred prints at the Redfern Gallery. Except that linoleum is used for the blocks, the prints do not appear to be, as claimed, a very new form of art, and some of them are so near to woodcuts as to be indis- tinguishable from them. Greater ease in working and cheap- ness should be the chief claims for this medium, and the limits of adaptability will always make for a broad simplicity. The lino users claim that better colour can be transferred from their material, but, beyond a slightly softer effect, the claim does not seem to be justified. The colour stands out rather thickly on some of the prints. The tricks of the trade, such as backing the print paper with silver paper, can be seen in Mr. Claude Flights' Brooklands. All Mr. Flights' work is good, his Swing-Boats especially giving the attributes, as well as ex- pressing all the sensations. Miss Sybil Andrews has got a warm sort of glow into her Oranges, and the swaying semi- circle of her Straphangers is an amusing design. Other good prints are The Trinity by Mr. McDowall, Mr. Peter Luling's Persephone, Mediterranean Pines by Mr. Edmonds, and The Archer by Miss Diana Drew, who, I understand, is still in her early 'teens. This exhibition offers a chance to anyone who wants a hit of original work at a modest price. G. G.
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