THE ILLUSTRATIONS OF
JOHN BUCKLAND-WRIGHT in association with the estate of John Buckland-Wright
JOHN BUCKLAND-WRIGHT 1897 - 1954
JOHN BUCKLAND-WRIGHT: 1926
the Camberwell and Slade Schools of Art, he was able to communicate to his pupils his experience of how these artists worked. My father’s work is characterized by the portrayal of the sensuous nude, in which the female form is depicted with grace and charm. The source for his artistic expression has its origin in his experiences during the First World War. Having joined the Scottish Ambulance Service, he was seconded to the French Army at Verdun, the sector in which the French suffered the greatest devastation during the First World War. There he witnessed harrowing scenes of human devastation while rescuing wounded and dying men from the front line trenches.
In the 1930’s, 1940’s and early 1950’s three
Following the war, my father found relief in
artists did a great deal to launch British
drawing the female figure that incorporated
engraving into the exciting waters of
the romantic ideal of Greek philosophy into
contemporary European art: the New
the very essence of the emotional
Zealander John Buckland Wright and two
expression of his work. Through his art he
Englishmen William Hayter and Anthony
was able to come to terms with the horrors
Gross. They all had French attachments and
he had experienced during the war and to
were quite independent of the influences of
restore unity and tranquillity to the
earlier and highly successful schools of
devastated landscapes, to repair the
British engraving. My father, John Buckland
damage that war had wrought on his love of
Wright helped Hayter to found his famous
nature. Once more he would fill his world
Atelier 17 in Paris. At this workshop, in
with beauty of a timeless quality he had
which artists experimented at novel
experienced in the gardens and countryside
methods of printmaking, my father worked
of New Zealand and England. He found his
with artists such as Matisse, Chagall,
emotional renewal through his art. It was in
Picasso, Miró, Dali. Later when teaching at
this way that he was able to express his
While walking the dog… fundamental belief in the renewal of life and
John Buckland-Wright has been a name that
of the human spirit and to rediscover the joy
has been of greatest interest to me since
he felt as a young man in nature’s soothing
seeing his work at many of the auctions that
beauty.
I visit, with his sensuous and provocative
This exhibition is a wonderful opportunity to view a comprehensive retrospective collection of one of the greatest book illustrators of the 1930’ and 1940’s. At the Brook Gallery exhibition we are able to appreciate John Buckland Wright’s work as a book illustrator and of which he said of himself:
engravings which bely the medium with which they were created. It was then my great fortune to meet Chris, the son of the artist on many occasions while walking our respective canines around our lovely East Budleigh home village. Conceived through these meetings, and now a reality we have worked hard to create a personal and intimate exhibition of engravings by John
‘I prefer the freer, more or less abstract
Buckland-Wright in support of the 3rd
sphere of poetry, or the synthesising of a
Budleigh Salterton Literary Festival. I would
whole story into one cut, which creates an
like to personally thank Chris for all of his
atmosphere rather than picturing any
patience and commitment in allowing us a
definite scene. I dislike pure illustration as
great insight into an artist who played no
much as anecdote’.
small part in setting the standard for illustration in the early 20th century.
Christopher Buckland-Wright | Jun 2011
Angela Yarwood | Brook Gallery
PLEASE NOTE: The reproduction sizes in this catalogue are not relative to each other. Prices include VAT | P-Size=Paper size | I-Size=Image size
The collected sonnets, John Keats, 1930 Printed by Joh. Enschedé en Zonen, Haarlem, for Halcyon Press, and published by A.A.M. Stols, Maastricht, Brussels and London in an edition of 375 numbered copies.
John Keats was my father’s favourite poet. This is his first published book, for which he prepared 11 wood engravings. In addition he cut a further 5 designs which were not included in the book and a couple of which are shown here.
To G. A. W., sonnet no. X (Cover image)
Wood engraving Artist’s proof, titled and signed with studio stamp verso
P-Size: 255mm x 170mm I-Size: 115mm x 100mm Unframed Price: £500
On Leaving Some Friends at an Early Hour, sonnet no. XV (the alternative design)
Wood engraving Artist’s proof, titled and dated with studio stamp verso
P-Size: 250mm x 180mm I-Size: 115mm x 100mm Unframed Price: ÂŁ450
Happy is England! . . ., sonnet no. XX (the alternative design)
Wood engraving Artist’s proof, titled and dated with studio stamp verso
P-Size: 250mm x 171mm I-Size: 115mm x 100mm Unframed Price: ÂŁ450
To a Lady seen for a few Moments at Vauxhall, sonnet no. XLIV Wood engraving 3rd state, titled and dated with studio stamp verso
P-Size: 185mm x 145mm I-Size: 115mm x 100mm Unframed Price: ÂŁ450
The Apocalypse of StJohn the Divine. 1932 Only four of the suite of engravings was completed (numbers I, III, IV and V) for A.A.M. Stols, The Halcyon Press, Maastricht. Unpublished book. A number of trial proofs were pulled from the blocks.
The Four Horsemen of the Apocalypse: Apocalypse No. III Wood engraving Artist’s proof, titled and dated with studio stamp verso
P-Size: 280mm x 205mm I-Size: 255mm x 180mm Unframed Price: ÂŁ450
Dolores, Algemon Charles Swinburne. 1933 Privately printed by A.A.M. Stols at Maastricht for Baron Emile Van der Borch. The first edition has 50 numbered copies and the second 40 numbered copies.
First edition, Figure No. 8 and Second edition, Figure No. 8 Wood engravings Artist’s proof with studio stamp verso
P-Size: 245mm x 165mm I-Size: 105mm x 50mm Unframed Price: ÂŁ760 pair
The poem in 440 lines portrays the figure of “Dolores, Our Lady of Pain”, as she is so named at the close of many of the stanzas. The speaker of the poem is the voice of a besotted lover, faced with, and lamenting, Swinburne’s particular ruthless representation of the
sacred feminine, embodied here as the ‘Lady of Pain’. For this poem by Swinburne my father prepared 11 wood engravings. In the First Edition the nudes are in white line, whereas in the Second Edition the original blocks were further worked and cut away to produce silhouette figures.
First edition, Figure No. 2
First edition, Figure No. 4
Wood engraving
Wood engraving
Artist’s proof, signed and dated with studio stamp verso
Artist’s proof, titled and dated with studio stamp verso
P-Size: 245mm x 165mm I-Size: 100mm x 50mm Unframed
P-Size: 245mm x 165mm I-Size: 100mm x 50mm Unframed
Price: £400
Price: £400
Second edition, Figure No. 7
Second edition, Figure No. 10
Wood engraving
Wood engraving
Artist’s proof, titled and dated with studio stamp verso
Artist’s proof, titled and dated with studio stamp verso
P-Size: 245mm x 165mm I-Size: 105mm x 40mm Unframed
P-Size: 245mm x 165mm I-Size: 105mm x 40mm Unframed
Price: £400
Price: £400
Free vistas, edited by Joseph Ishill, 1933 Oriole Press, Berkeley Heights, New Jersey. Edition of 290 copies.
Free Vistas was intended as an annual, containing a series of short stories and poems, as well as illustrations. Included in the book were reproductions of a number of my father’s larger wood engravings, he also provided several small wood engravings.
Summer Idyll, 1931 Wood engraving Artist’s proof, initialled and dated on the page with studio stamp verso
P-Size: 165mm x 125mm I-Size: 38mm x 55mm Unframed Price: £250
Girl Reclining, 1932 Wood engraving Artist’s proof, signed and dated with studio stamp verso
P-Size: 104mm x 100mm I-Size: 26mm x 62mm Unframed Price: £250
Calendar: Four Seasons 1935 Published by L.C. Boucher, Folemprise, The Hague.
Summer Wood engraving Artist’s proof, titled, signed and dated with studio stamp verso
P-Size: 235mm x 235mm I-Size: 162mm x 149mm Unframed Price: ÂŁ500
Autumn Wood engraving Artist’s proof, titled, signed and dated with studio stamp verso
P-Size: 235mm x 235mm I-Size: 162mm x 149mm Unframed Price: ÂŁ500
Yew-leaf and lotus-petal: sonnets, John Evelyn Barlas. 1935 Oriole Press, Berkeley Heights, New Jersey. Edition of 130 copies.
Moon Lady Wood engraving 75mm x 75mm, artist’s proof, titled and dated with studio stamp verso
+ Golden Study Wood engraving 75mm x 75mm, page proof from book
P-Size: 370mm x 290mm Unframed Price: ÂŁ650
John Evelyn Barlas (1860-1914) was associated with William Morris’ ‘Commonweal’. His devotion to the ideal of beauty, as seen in his poems, was the basis for the both the printer/publisher Joseph Ishill and for my father to publish this beautiful book.
The Haunted Castle Wood engraving Artist’s proof, titled and dated with studio stamp verso
P-Size: 190mm x 135mm I-Size: 75mm x 75mm Unframed Price: £400
The most pleasant and delectable tale of the marriage of Cupid and Psyches, 1936 From the golden asse of Lucius Apuleius, translated out of the Latin by William Adlington. Printed by Joh. Enschede en Zonen, Haarlem, for J .B. W. Editions. Edition of 50 numbered copies.
This is the second book my father designed, illustrated and published. These books are rare and are highly sought after by collectors. The text describes how Venus jealous of the beauty of a mortal girl named Psyche asks her son Cupid to use his golden arrows to make Psyche fall in love with a vile creature. On seeing Psyche, Cupid falls in love with Psyche. Venus is furious and places a curse upon Psyche and forces her to submit to a series of impossible trials. Psyche is helped to overcome these tests. Lovelorn Cupid appeals to Jupiter to help him. Jupiter then has Psyche fetched to Mount Olympus and grants her immortality. Psyche and Cupid have a daughter, called Voluptas, the goddess of ‘sensual pleasures’.
Headpiece: Goat girl Copper engraving artist’s proof numbered 5/14, signed with studio stamp verso
P-Size: 210mm x 150mm I-Size: 45mm x 88mm Unframed Price: £400
Venus Calling the Sea Gods
Venus, Ceres & Juno
Copper engraving
Copper engraving
artist’s proof, titled and dated with studio stamp verso
artist’s proof, titled and dated with studio stamp verso
P-Size: 330mm x 250mm I-Size: 127mm x 87mm Unframed
P-Size: 250mm x 220mm I-Size: 127mm x 87mm Unframed
Price: £600
Price: £600
Love night, Powys Mathers. 1936 Golden Cockerel Press, London. The artist’s first commission for the Golden Cockerel Press. Edition of 200 numbered copies.
Headpiece to Act III Wood engraving artist’s proof, titled and dated with studio stamp verso
P-Size: 250mm x 160mm I-Size: 75mm x 105mm Unframed Price: £350
This is the first book that my father illustrated for the Golden Cockerel Press. In due course my father became the principal book illustrator for the Golden Cockerel Press, until post war financial constraints
forced the press to close down in the 1950’s. My father provided 15 wood engravings for the text and an additional 6 engravings for the special copies for the Laotian love story.
Wild Bee Hunter & Red Jasmine I
Wild Bee Hunter & Red Jasmine II
Wood engraving
Wood engraving
artist’s proof, titled and dated with studio stamp verso
artist’s proof, titled and dated with studio stamp verso
P-Size: 250mm x 160mm I-Size: 160mm x 105mm Unframed
P-Size: 250mm x 160mm I-Size: 160mm x 105mm Unframed
Price: £550
Price: £550
Mademoiselle de Maupin, Theophile Gautier, 1938 Translated by R. and E. Powys Mathers. Golden Cockerel Press, London, in an edition of 500 numbered copies.
Gautier’s plot describes a simple love triangle between a man, d’Albert, and his mistress, Rosette, who both fall in love with Madeleine de Maupin, who is disguised as a man named Théodore. The message behind Gautier’s tale is the fundamental pessimism about the human identity. The novel consists of seventeen chapters, most in the form of letters written by d’Albert or Madeleine. Literary commentators focus on the preface of the novel, which preaches about ‘Art for Art’s Sake’ through its dictum that “everything useful is ugly”.
Frontispiece: The three Graces Copper engraving artist’s proof, titled and dated with studio stamp verso
P-Size: 330mm x 250mm I-Size: 170mm x 126mm Unframed Price: £550
D’Albert and his Ideal Copper engraving artist’s proof, titled and signed on sheet with studio stamp verso
P-Size: 255mm x 210mm I-Size: 170mm x 126mm Unframed Price: £450
Theodore in the bedroom Copper engraving artist’s proof, signed with studio stamp verso
P-Size: 255mm x 205mm I-Size: 170mm x 126mm Unframed Price: ÂŁ500
Rosalind Copper engraving artist’s proof, signed with studio stamp verso
P-Size: 260mm x 205mm I-Size: 170mm x 126mm Unframed Price: ÂŁ500
The Golden Cockerel Rubaiyat of Omar Khayyam, 1938 Translated by Fitzgerald. Golden Cockerel Press, London, in an edition of 300 numbered copies.
Omar Khayyam No. 1
Omar Khayyam No. 8
Copper engraving
Copper engraving
artist’s proof, titled and dated with studio stamp verso
artist’s proof, titled, signed and dated with studio stamp verso
P-Size: 300mm x 170mm I-Size: 208mm x 106mm Unframed
P-Size: 300mm x 170mm I-Size: 208mm x 106mm Unframed
Price: £500
Price: £525
When designing the illustrations for this book, my father wrote to Christopher Sandford of the Golden Cockerel Press, describing his intentions: “The main theme will be presented by a couple in every plate, drinking, making
love or in contemplation. The background will suite the mood and has an occasional reference to the verses opposite. The variety will be in the positions of the couple, the background and the rhythm of the underlying design.”
Omar Khayyam Special No. 3
Omar Khayyam Special No. 4
Copper engraving
Copper engraving
artist’s proof, signed and dated with studio stamp verso
artist’s proof, signed and dated with studio stamp verso
P-Size: 300mm x 210mm I-Size: 208mm x 106mm Unframed
P-Size: 300mm x 210mm I-Size: 208mm x 106mm Unframed
Price: £600
Price: £600
Pervigilium Veneris: The Vigil of Venus, Anonymous, 1939 Translated by F.L. Lucas. Golden Cockerel Press, London. 100 numbered copies.
The Vigil of Venus is a Latin poem, probably written in the 4th century, professedly in early spring on the eve of a three-nights’ festival of Venus (probably April 1-3). The poem describes the annual awakening of the vegetable
and animal world through the goddess. It is notable because of its focus on the natural world – something never before seen in Roman poetry – which marks the transition from Roman poetry to Medieval poetry.
O Maid of Delos, Venus sends maids chaste as thou Copper engraving with sugar lift aquatint artist’s proof, titled and dated with studio stamp verso
P-Size: 290mm x 220mm I-Size: 75mm x 125mm Unframed Price: £500
Hark, the chattering swans are calling Copper engraving with sugar lift aquatint artist’s proof, titled and dated with studio stamp verso
P-Size: 330mm x 260mm I-Size: 72mm x 125mm Unframed Price: £500
For my silence Phoebus scorns me Copper engraving with sugar lift aquatint artist’s proof, titled and dated with studio stamp verso
P-Size: 330mm x 260mm I-Size: 72mm x 125mm Unframed Price: £500
Matthew Flinders' narrative of his voyage in the schooner Francis, G. Rawson, 1946 Golden Cockerel Press, London. 750 numbered copies.
Captain Matthew Flinders RN (1774-1814) was one of the most successful navigators and cartographers of his age. In a career that spanned just over twenty years, he sailed with Captain William Bligh,
The wreck of the Porpoise & Cato Wood engraving artist’s proof, titled and dated with studio stamp verso
P-Size: 140mm x 170mm I-Size: 90mm x 127mm Unframed Price: ÂŁ500
circumnavigated Australia and encouraged the use of that name for the continent, which had previously been known as New Holland.
Endymion, John Keats, 1947 Golden Cockerel Press, London. 500 numbered copies.
This book was my father’s magnum opus and is regarded as the most important book produced at the Golden Cockerel Press by its owner and publisher Christopher Sandford. The poem describes how the shepherds gather around an alter and pray to Pan, god of shepherds and flocks. As the youths sing and dance, Endymion lies in a trancelike state. His sister, Peona, takes him away and brings him to her resting place where he sleeps. After he wakes, he tells Peona of his encounter with Cynthia, the goddess of the moon, and how much he loved her. In Book I: Endymion gives an account of his dreams and experiences, as related to Peona. In Book II: Endymion ventures into the underworld in search of his love. Book III: reveals Endymion’s enduring love for Cynthia, and he begs the Moon not to torment him any longer. Book IV: ‘And so he groan’d, as one by beauty slain.’ He is miserable until quite suddenly he comes upon his love. She then tells him of how she tried to forget him, but that in the end, ‘There is not one,/ No, no, not one/ But thee.’
Frontispiece Wood engraving artist’s proof, with studio stamp verso
P-Size: 230mm x 160mm I-Size: 200mm x 135mm Unframed Price: £550
Frontispiece to Book I Wood engraving signed, titled and dated ’44
P-Size: 230mm x 130mm I-Size: 200mm x 108mm Unframed Price: ÂŁ600
Gathering Round the Alter Wood engraving artist’s proof, with studio stamp verso
P-Size: 220mm x 170mm I-Size: 138mm x 107mm Unframed Price: ÂŁ400
Pan II Wood engraving artist’s proof, titled, signed and dated with studio stamp verso
P-Size: 110mm x 140mm I-Size: 85mm x 107mm Unframed Price: ÂŁ450
On the Side of Latmos Wood engraving artist’s proof, titled, signed and dated with studio stamp verso
P-Size: 140mm x 210mm I-Size: 75mm x 107mm Unframed Price: ÂŁ450
TO ORDER PHONE 01395 443003 www.brookgallery.co.uk
Tiptoe Night Wood engraving artist’s proof, with studio stamp verso
P-Size: 230mm x 160mm I-Size: 200mm x 107mm Unframed Price: £550
Headpiece to Book 3 Wood engraving artist’s proof with studio stamp verso
P-Size: 220mm x 140mm I-Size: 70mm x 107mm Unframed Price: ÂŁ300
Poems, Rupert Brooke, 1948 The Folio Society, London. Unlimited edition.
The nine scraper-board drawings were reproduced at half their original size of 10 x 7 inches. Shown here are the original drawing for the illustration and the proof pull for the reproduced illustration.
Frontispiece: The Mill, Granchester Pencil and ink wash drawing with reproduction of the scraper-board drawing, P-Size: 400mm x 500mm I-Size: 150mm x 260mm Unframed Price: ÂŁ500
The Odyssey. Homer. Translated in selection in verse by F.L. Lucas, 1948 The Folio Society. London. Unlimited edition.
The book is illustrated with 16 copper engravings in collotype reproduction. The illustration here is one of the artist’s proofs. The poem mainly centers on the Greek hero Odysseus and his long journey home following the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors competing for Penelope's hand in marriage.
Odysseus & Nausicaä Copper engraving artist’s proof, titled and dated with studio stamp verso
P-Size: 270mm x 180mm I-Size: 160mm x 96mm Unframed Price: £350
Hero and Leander. Musaeus. Translated by F.L. Lucas, 1949 Golden Cockerel Press. London. 500 numbered copies.
The text tells how Hero dwelt in a tower in Sestos on the European side of the Dardanelles, and Leander, a young man from Abydos, lived on the opposite side of the strait. Leander fell in love with Hero and would swim every night across the Hellespont to be with her. Hero would light a lamp at the top of the tower to guide his way. Succumbing to Leander’s soft words, Hero allowed him to make love to her. This routine lasted through the warm summer. But one stormy winter night, the waves tossed Leander in the sea and the breeze blew out Hero’s light, Leander lost his way and was drowned. Hero threw herself from the tower in grief and died as well.
Hero Set Forth her Lamp Copper engraving artist’s proof, titled and dated with studio stamp verso
P-Size: 200mm x 140mm I-Size: 137mm x 92mm Unframed Price: £400
Hero Pulling Away from Leander Copper engraving artist’s proof, titled and dated with studio stamp verso
P-Size: 260mm x 200mm I-Size: 137mm x 92mm Unframed Price: ÂŁ400
Pasiphaë. Algernon Charles Swinburne, 1950 Golden Cockerel Press, London. 500 numbered copies.
A curse from Poseidon caused Pasiphaë to experience lust for and mate with a white bull sent by Poseidon. In order to actually copulate with the bull, she had the Athenian artificer Daedalus construct a portable wooden cow with a cowhide covering, within which she was able to satisfy her strong desire. The ‘Bull’ represented the old pre-Olympian Poseidon.
Pasiphaë and the Nurse Copper engraving artist’s proof, signed and dated
P-Size: 210mm x 145mm I-Size: 137mm x 92mm Unframed Price: £325
The Iliad. Homer, translated in selection in verse by F.L. Lucas, 1950 The Folio Society, London. Unlimited edition.
The book is illustrated with 9 copper engravings in collotype reproduction. The illustrations here are proofs pulled by the artist. Although the story covers only a few weeks in the final year of the Trojan War, the Iliad describes the legends about the siege, the earlier events, such as the gathering of warriors for the siege and the cause of the war. Towards the end of the poem occur the events prophesied for the future, such as Achilles' looming death and the sack of Troy.
Paris & Helen Copper engraving artist’s proof, titled and dated with studio stamp verso
P-Size: 250mm x 150mm I-Size: 175mm x 100mm Unframed Price: ÂŁ350
Death of Hector Copper engraving artist’s proof, titled and dated with studio stamp verso
P-Size: 250mm x 160mm I-Size: 175mm x 100mm Unframed Price: ÂŁ325
Salmacis and Hermaphroditus. Attributed to Francis Beaumont, 1951 Golden Cockerel Press, London. 380 numbered copies.
Title page: Salmacis, the Naiad bathing Three block colour wood engraving artist’s proof, titled and dated with studio stamp verso
P-Size: 160mm x 200mm I-Size: 90mm x 115mm Unframed Price: ÂŁ450
This is the first book my father illustrated using colour wood engraving which achieved with three blocks. It was in the woods of Caria, that Hermaphroditus encountered the nymph, Salamacis, in her pool. She was overcome by lust for the boy, who was very handsome but still young. She tried to seduce him but was rejected. When he thought her gone, Hermaphroditus undressed and entered the waters of the empty pool. Salamacis sprang out from behind a tree and jumped into the pool. She wrapped herself around the boy, forcibly kissing him. While he struggled, she called out to the gods that they should never part. Her wish was granted, and their bodies blended into one form, ‘a creature of both sexes’.
Salmacis in the lily pond Three block colour wood engraving artist’s proof, titled and dated with studio stamp verso
P-Size: 320mm x 200mm I-Size: 205mm x 120mm Unframed Price: £550
Hermaphroditus Teased by the Nymphs Three block colour wood engraving artist’s proof, titled and dated with studio stamp verso
P-Size: 320mm x 210mm I-Size: 200mm x 125mm Unframed Price: ÂŁ500
Salmacis Combing her Hair Three block colour wood engraving artist’s proof, titled and dated with studio stamp verso
P-Size: 320mm x 200mm I-Size: 200mm x 125mm Unframed Price: ÂŁ550
TO ORDER PHONE 01395 443003 www.brookgallery.co.uk
‘At her loose speech Hermaphroditus blusht’ Three block colour wood engraving artist’s proof, titled and dated with studio stamp verso
P-Size: 320mm x 200mm I-Size: 200mm x 125mm Unframed Price: £500
The Decameron (The first five days), Boccaccio, translated by R. Aldington, 1954 The Folio Society, London. Unlimited edition.
Second day, seventh tale: Alatiel undressed herself before him
Third day, sixth tale: Ricciardo made no reply; he kept embracing & kissing her more than ever
Etching and aquatint
Etching and aquatint
artist’s proof, titled and dated with studio stamp verso
artist’s proof, titled and dated with studio stamp verso
P-Size: 255mm x 160mm I-Size: 177mm x 105mm Unframed
P-Size: 290mm x 200mm I-Size: 177mm x 105mm Unframed
Price: £400
Price: £400
The Decameron (The second five days), Boccaccio, translated by R. Aldington, 1955 The Folio Society, London. Unlimited edition.
Eighth day, seventh tale: Elena dipped seven times holding the image in her hand
Ninth day, second tale: The guilty novice in her timidity did not know what to reply
Etching and aquatint
Etching and aquatint
artist’s proof, titled and dated with studio stamp verso
artist’s proof, titled and dated with studio stamp verso
P-Size: 260mm x 160mm I-Size: 177mm x 105mm Unframed
P-Size: 255mm x 160mm I-Size: 177mm x 105mm Unframed
Price: £375
Price: £375
L'apres-midi d'un faune (Afternoon of a faun), Stephane Mallarme, 1956 Printed at Mouton & Co. for J.B.W. Editions, The Hague (and London). Edition of 50 numbered copies.
This third and last of my father’s ‘J.B.W. Editions’ was first conceived in the 1930’s and was not finished in his lifetime. It was published posthumously with reproductions of the ink wash illustrations he had been working on as well as a suite of experimental copper plate engravings. The poem describes the sensual experiences of a faun who has just woken up from his afternoon sleep.
Faun spying on nymphs bathing Copper engraving with soft ground etching artist’s proof, titled and dated with studio stamp verso
P-Size: 280mm x 200mm I-Size: 187mm x 110mm Unframed Price: £550
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