Edward Bawden colour illustration, taken from 'Adam & Eve at Kew or Revolt in the Gardens' by Robert Herring, published in its first very limited edition (1060 copies only) by Elkins, Mathews & Marrot in 1930. 'The Chinese Pagoda'. This is NOT a later reproduction but comes from the rare 1930 edition and is a stencil illustration by the pochoir method (in which colour is added straight to the paper by hand). This accounts for the sophistication and breadth of tone in the colouring. On wove paper. Sheet size c.8.5x5.75 inches-well suited to standard 10x8" frame. Unmounted-edges lightly sunned/small tear to bottom edge of border which will be well hidden once in mount. Our usual packaging: Beautifully presented in cello bag backed by acid-free card. Will be also sent in cardboard reinforced DO NOT BEND envelope. Where possible, we also include a sheet with information about the print.
As a new exhibition on Edward Bawden's garden paintings and prints opens in Bedford, Jane Audas explores the artist's longstanding love of plants and gardens
This is part 1 of a 4-part post on the works of British Artist Edward Bawden, one of a group of artists associated with a community of artists that existed around Great Bardfield during the middle years of the 20th century. Great Bardfield is a village in north west Essex, England. The principal artists who lived there between 1930 and 1970 were John Aldridge RA, Edward Bawden CBE RA, George Chapman, Stanley Clifford-Smith, Audrey Cruddas, Walter Hoyle (principally a printmaker, who ran the printing workshops at Cambridge Art School when I was there, and taught me to do linocuts in the style of Bawden and himself), Eric Ravilious, Sheila Robinson, Michael Rothenstein, Kenneth Rowntree and Marianne Straub. Other artists associated with the group include Duffy Ayers, John Bolam (who taught me painting at Cambridge Art School, and later became the Principal of the school), Bernard Cheese, Tirzah Garwood, Joan Glass, David Low and Laurence Scarfe. Great Bardfield Artists were diverse in style but shared a love for figurative art, making the group distinct from the better known St Ives art community in Cornwall, who, after the war, were chiefly dominated by abstractionists. Edward Bawden (1903 – 1989) can be seen as a key artist in the Bardfield group. His long career spanned most of the twentieth century, and comfortably straddled boundaries and borders between the fine and applied arts, boundaries which are seen as so immovable today. Even before his appointment as an Official War Artist in 1940, Bawden had established a reputation as a designer, illustrator and painter. As well as these areas his output over the years include murals, posters, designs for wallpaper, ceramics, lithographic prints and watercolours. Edward Bawden was born in Braintree, Essex in 1903, and was perhaps more firmly rooted in Essex than any other artist represented in the North West Essex Collection. Bawden attended the Friends' School in Saffron Walden. At the age of eleven he strained his heart and was excused participation in sports. This may have allowed him to devote more time to drawing, and his portraits and caricatures attracted the attention of his tutors who arranged for him to spend a day a week at the Cambridge School of Art. The school, now part of Anglia Ruskin University, had been founded to comply with the Ruskinian philosophies of improving design for industry, and encouraging amateur aspirations. Bawden fitted perfectly. Before long, he had gained entry to the Royal College of Art. Here he was taught by Paul Nash (a lasting influence on Bawden and his contemporaries), and the popular E. W. Tristram. It was at the RCA that Bawden first met his 'kindred spirit', Eric Ravilious, the two quickly becoming firm friends, though entirely different in temperament. Shortly after leaving the college, the pair gained a prestigious commission to paint a mural for the refreshment room of Morley College in London. He first rented half of Brick House, the imposing Georgian house in Great Bardfield in the mid-1920s with Ravilious, and after his father purchased the whole house for him on his marriage to Charlotte Epton in 1932, he continued to live there until moving to Saffron Walden in 1970 after Charlotte's death. Brick House, Great Bardfield in 1960 by Ronald Maddox watercolour Brick House is on the left, on the right is the Old Police House. I am showing Bawden's work chronologically by date, so there will be a mixture of paintings, commercial work and textiles: n.d. Night and Day textile 57 x 112 cm Cat linocut n.d Beirut watercolour 1926 Fruit and Napkin wallpaper for Curwen Press 1927 Bullford Mill near Black Notley Essex watercolour 1927 London Back Garden engraving 19 x 10.5 cm 1927 Redcliffe Road engraving 15 x 9 cm 1927 Southcliffe Beach engraving 1928 Wallpaper design for Curwen Press 1928 Mermaid and Whale wallpaper for Curwen Press 1929 Knole Park wallpaper for Curwen Press 1929 Lagoon wallpaper for Curwen Press 1931 The Three Graces drawing c1932 Walton Castle, Clevedon, Somerset poster for Shell Oil lithograph 74.6 x 113 cm 1933 Advertisement for Shell Oil 1932-33 Façade wallpaper for Curwen Press Façade was one of the four 'Plaistow Wallpapers' designs commissioned by Curwen Press in 1932, and so called because the press was located in Plaistow, East London. They were produced in lithograph, after the original linocuts. This design was the most popular of all Bawden's wallpapers, selling a total of 3,899 rolls. While 'Façade' might be thought just a neutral title, is it possible that it could have been in the artist's mind because of the popularity around that time of William Walton's musical suites of that name, based on Edith Sitwell's poems. Frederick Ashton's ballet of Façade was premiered in 1931. 1933 Node wallpaper for Curwen Press 1934 Curwen Press Newsletter No. 8 cover illustration 1935 Advertisement for Shell Oil 1935 Wallpaper design for Curwen Press 1935 Park Lane press advertisement for Westminster Bank Ltd. c1935 Othello illustration c1935 The Swiss Family Robinson advertisement for Twinings 1936 Advertisement for Shell Oil c1936 Imperial Aiways folder Le Touquet 1937 Abstract Design from Signature magazine 1937 Book jacket for Faber 1937 Cattle Market lithograph
This is part 2 of a 4-part post on the works of British Artist Edward Bawden, one of a group of artists associated with a community of artists that existed around Great Bardfield in Essex, England during the middle years of the 20th century. For biographical notes and earlier works, see part 1. 1938 The Law and How You Break It drawing 1938-39 Grid and Cross - Blue, White, Yellow wallpaper for Cole and Son 1938-39 Rose and Lace wallpaper for Cole and Son 1939 Pamphlet for Fortnum and Mason 1939 The Bell Inn watercolour 45.7 x 54.6 cm © Tate, London 1940 Gallabat, Guns Firing on Metemma watercolour 39.4 x 51.4 cm © Tate, London 1941 Burnt Tukl at Gubba watercolour and drawing 39.4 x 52.1 cm © Tate, London 1941 The Catholic Church, Addis Ababa pen and ink, watercolour and crayon 45.7 x 57.8 cm © Tate, London 1941 View from the Enemy H.Q. at Gubba watercolour and drawing 39.4 x 51.4 cm © Tate, London c1941 Cairo, the Citadel, Mohammed Ali Mosque pencil and watercolour 47 x 59.7 cm © Tate, London 1941c Cairo, the Citadel, On the Roof of the Officers' Mess watercolour 46.4 x 59.1 cm © Tate, London 1945 Ahmed Yusef, An Iraqi Messenger Boy watercolour and ink 38.7 x 56.9 cm 1946 East Wind endpapers for Contact magazine 1946 Letter from Calcutta for Contact magazine 1946 Letter from Cape Town for Contact magazine 1946 Letter from Geneva for Contact magazine 1946 Letter from Melbourne for Contact magazine 1946 Russian Travel Letter for Contact magazine 1947 Bracken, Gorse and Gower Peninsula watercolour 1947 Campions and Columbines linocut for Curwen Press 1947 Central Park for Contact magazine 1947 Cheltenham sketch 1947 Cheltenham sketch c1947 The Dolls at Home collage 1948 Christchurch and Greyfriars 24.2 x 29.7 cm drawing 1948 The Artist's Garden in Winter watercolour and gouache 1950 Autumn cardboard cut 38 x 50 cm 1950 The Canmore Mountain Range gouache and drawing on paper 56.5 x 71.8 cm © Tate, London
'A genius graphic novel (but lots of words) about a young woman from Dorset who leaves her life to be with a much older famous artist in London. It's also brilliant on relationships, creativity and friendship (and the art world)' India Knight'Every now and again a book comes along that is such a bright joy, so true, so beautiful and moving. Alison is one of those books. I loved it' Jessie Burton, author of The Miniaturist'Alison is Posy Simmonds meets Edward Bawden - and really, what higher praise could there be?' Observer'Subtle and deliciously complicated, this is a big book on big subjects, but lightly, elegantly done. I loved it' Tessa Hadley, author of Free LoveAlison is newly married, barely twenty and struggling to find her place in the world. A chance encounter with an older artist upturns her life and she forsakes convention and her working-class Dorset roots for the thrumming art scene of London in the late seventies. As the thrill of bohemian romance leads inevitably to disappointment, Alison begins to find her own path - through art, friendship and love. 'This book is a testament to the right to choose your own life' Jessica Andrews, author of Saltwater'A delicious portrait of 80s and 90s London and a more universal tale of a working-class young woman making a life in a world that has not been designed for the likes of her. For all its effortlessness [...] Alison ends up carrying a great emotional heft. It's a lovely book, and I cried at the end.' Guardian; 176 pages; Published: 14/07/2022
London by Edward Bawden is a huge retrospective at the Higgins Bedford museum, which taps into the archive of the artist’s work, bringing some of its 3000 pieces to light. Bawden, an Essex man at…
As a new exhibition on Edward Bawden's garden paintings and prints opens in Bedford, Jane Audas explores the artist's longstanding love of plants and gardens
Edward Bawden created illustrated maps and structural lithographs from the 1920s to the 60s, with Kew Gardens and London's markets among his favourite subjects
He’s best known for his work as a designer. A new exhibition should change that
Edward Bawden created illustrated maps and structural lithographs from the 1920s to the 60s, with Kew Gardens and London's markets among his favourite subjects
1986 Self-Portrait watercolour and pencil 48.9 x 64.8 cm © National Portrait Gallery, London This is part 4 of a 4-part post on the works of British Artist Edward Bawden, one of a group of artists associated with a community of artists that existed around Great Bardfield in Essex, England during the middle years of the 20th century. For biographical notes on Bawden see part 1. For earlier works see parts 1, 2 and 3 also. --> In 1967 Bawden made a series of six prints of London markets, commissioned by Curwen Prints. The markets were Billingsgate, Borough, Covent Garden (2), Leadenhall and Smithfield: 1967 Billingsgate Fish Market lithograph 1967 Borough Market lithograph 46 x 61 cm 1967 Covent Garden Flower Market lithograph 46 x 61 cm 1967 Covent Garden Fruit Market lithograph 45.8 x 69.9 cm 1967 Leadenhall Market lithograph 46 x 61.5 cm 1967 Smithfield Meat Market lithograph 46 x 61.5 cm --> In 1970 Bawden produced a series of eight linocuts from themes in Aesop's Fables, which he published himself in an edition of fifty: 1970 Aesop's Fables, A Frog and an Ox linocut 40.5 x 56 cm 1970 Aesop's Fables, Jackdaw in Borrowed Feathers linocut 1970 Aesop's Fables, Hares Foxes and Eagles linocut 1970 Aesop's Fables, Ant and Grasshopper linocut 1970 Aesop's Fables, Frog, Mouse and Kite linocut 1970 Aesop's Fables, Gnat and Lion linocut 40.5 x 56 cm 1970 Aesop's Fables, Hare and Tortoise linocut 40.5 x 56 cm 1970 Aesop's Fables, Peacock and Magpie linocut 40.5 x 56 cm 1970 Trinity College Chapel, Oxford lithograph 29.5 x 42.9 cm 1973 Audley End lithograph 50.5 x 63 cm 1978 Neyayah, Rasselas and Imlac lithograph 1979 Wingfield Manor, Derbyshire - The Great Hall watercolour 1981 Cat and Ball of Wool/Play with Me linocut 1982 Book Illustration linocut © Victoria and Albert Museum, London 1986 Among the Marsh Arabs lithograph 36 x 58 cm 1986 Cat and Greenhouse, Park Lane, Saffron Walden watercolour The original watercolour of ‘Dunkirk’ (below), painted in 1940, is in the collection of the Imperial War Museum. This version (colour lithograph on plastic) was made in 1986 by Bawden for the Curwen Press in an edition of 75: 1986 Dunkirk lithograph 36 x 58 cm 1986 Self-Portrait watercolour and pencil 48.9 x 64.8 cm © National Portrait Gallery, London 1987 Hound of the Baskervilles linocut An Old Crab and a Young linocut 37.7 x 24.5 cm Corn Exchange, Saffron Walden linocut 56 x 76.6 cm The Blue Plough, Saffron Walden linocut 56 x 78 cm
This calendar comes from a 1930 book called CBC's Review of Revues and Other Matters. ('CBC' is Charles B. Cochrane, (1872-1951), the English theatrical impresario.) It's not a rare or valuable book (copies may be found on Abebooks for £5), and I can't imagine that the text could be of any interest to anyone except perhaps those with an unhealthily intense interest in English popular theatre of the late 20s. It earns its place on my overcrowded shelves (from whence many very much worthier books have been banished to seek their fortunes in Oxfam) because of the illustrations, and in particular the calendar by Edward Bawden. Bawden (1903-1989) is one of my favourite artists. I won't say any more: the endearing and amusing pictures speak for themselves.
Some critics mutter “tame” and—dread word—“charming,” and sneer at the twee marketing of Edward Bawden’s prints on greetings cards, handbags, kitchen tea-towels, and fridge magnets. But there’s more to Bawden than that. His admirers proclaim him as a mischievous genius, an edgy, brilliant designer, blending tradition with modernism. Yet the question echoes, as it so often does for those who follow a commercial career: Is he “a proper artist”? But after seeing the rich and surprising variety of work in the Dulwich Picture Gallery’s show, who can say that Edward Bawden is not?
As a new exhibition on Edward Bawden's garden paintings and prints opens in Bedford, Jane Audas explores the artist's longstanding love of plants and gardens
Edward Bawden was a successful and prolific English printmaker, graphic designer, illustrator and painter. He studied at the School of Art in Cambridge (1919-22) and at the Design School of the Royal College of Art (1922-6), where he was a contemporary of Eric Ravilious and was taught by Paul Nash. Style/Type Folded Greetings Card with Envelope Message Blank Inside Size 175 X 125mm Packaging Supplied in cellophane wrapper OFFER 10% Discount Order any FIVE cards for a 10% discount 15% Discount Order any TEN cards for a 15% discount
Edward Bawden created illustrated maps and structural lithographs from the 1920s to the 60s, with Kew Gardens and London's markets among his favourite subjects
1962 EDWARD BAWDEN LITHOGRAPH Lisbon Portugal. Sheet Size c.14x12ins. With centrefold, as published. Slight mark along fold-please see photo. Printed in a 1962 issue of Ruari McLean's art journal MOTIF. Printed on matt paper of a decent weight. Further lithograph to reverse-No show through. Printed at the Shenval Press (Robert Harling and James Shand).
Edward Bawden created illustrated maps and structural lithographs from the 1920s to the 60s, with Kew Gardens and London's markets among his favourite subjects
This calendar comes from a 1930 book called CBC's Review of Revues and Other Matters. ('CBC' is Charles B. Cochrane, (1872-1951), the English theatrical impresario.) It's not a rare or valuable book (copies may be found on Abebooks for £5), and I can't imagine that the text could be of any interest to anyone except perhaps those with an unhealthily intense interest in English popular theatre of the late 20s. It earns its place on my overcrowded shelves (from whence many very much worthier books have been banished to seek their fortunes in Oxfam) because of the illustrations, and in particular the calendar by Edward Bawden. Bawden (1903-1989) is one of my favourite artists. I won't say any more: the endearing and amusing pictures speak for themselves.
Portion of 'Mermaid' wallpaper; Designed by Edward Bawden; Colour lithograph on paper; Printed and published by the Curwen Press Ltd; England; ca.1930.
Painter and illustrator Edward Bawden’s five scrapbooks, assembled over a period of more than 55 years, and housed at The Fry Art Gallery, contain everything from stamps, photographs, …
Edward Bawden created illustrated maps and structural lithographs from the 1920s to the 60s, with Kew Gardens and London's markets among his favourite subjects
1962 EDWARD BAWDEN LITHOGRAPH Praça do Giraldo Évora Portugal. Sheet Size c.16x12ins. With centrefold, as published. Printed in a 1962 issue of Ruari McLean's art journal MOTIF. Printed on matt paper of a decent weight. Further lithograph to reverse-No show through. Printed at the Shenval Press (Robert Harling and James Shand).
Edward Bawden CBE RA (1903–1989) was one of the most significant artists of his time. His long career spanned much of of the twentieth century, and comfortably straddled boundaries between the fine and applied arts. His work was inspired by nature, often with a hint of the mythical and mischievous humour as is evident in his Wave wallpaper. Wave’s lattice form firmly frames the witty narrative. In a robust structure where the wave breaks intersect with the waves themselves there is an unexpected amount of movement – the mermaids and fish gleefully appear and disappear as the ‘starved’ inking on the waves adds to the effect of shimmering, broken light. As if we are all at sea. This design is printed to order. Please order the correct amount of rolls needed to ensure continuity across batches.
England • Circa 1935-1975 Illustrator Edward Bawden Images courtesy of www.poulwebb.blogspot.com.au www.theblankcardcompany.co.uk www.pallantbookshop.com www.norepro.co.uk www.thefineartcompany.co.uk www.rennart.co.uk www.artinprint.org
The Dulwich Picture Gallery examines the vibrant world of Edward Bawden with a typically joyous exhibition
Dulwich Picture Gallery curator James Russell introduces some definitive pieces by Edward Bawden who is the subject of a summer exhibition of his work as a printmaker, illustrator, watercolourist and designer.
The English artist’s celebrated designs capture an era with timeless humour
1930 calendar heading by Edward Bawden in salmon-pink, light green and cross-hatched black. Printed at the Curwen Press on Basingwerk Parchment. This is a stencil illustration by the pochoir method (in which colour is added straight to the paper by hand). This accounts for the sophistication and breadth of tone in the colouring. C.5x3ins. Unmounted. Further print to reverse - does not show through. This is NOT a later reproduction but comes from the 1930 Review of Revues edited by Cochran. Our usual packaging: Beautifully presented in cello bag backed by acid-free card. Will be also sent in cardboard reinforced DO NOT BEND envelope. Where possible, we also include a sheet with information about the print.
