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Private view Tuesday 2nd July 6.30 – 8.30pm Book signing Saturday 6th July 11am – 1pm

Additional works on paper by ‘Ten Printmakers’ Additional Modern British paintings and prints Edward Bawden Barbara Jones Paul Nash John Piper Eric Ravilious Michael Rothenstein Julian Trevelyan Edward Wadsworth

16 Dundas Street, Edinburgh EH3 6HZ Tel 0131 558 1200 Email Web

Foreword The Scottish Gallery is delighted to host ‘Ten Printmakers’ which brings together a group of artists who are all associated with St Jude’s, a company which was founded in 2005 by Angie and Simon Lewin. St Jude’s collaborate with an eclectic range of artists who create and print unique fabrics and wallpapers; they have a shared interest in the results of where fine art and commercial design overlap. They have become a small and thriving business and were named winners in the Elle Decoration British Design Awards in 2011 and 2012. In 2008, The Scottish Gallery asked Mark Hearld to curate an exhibition of his fellow artists and collaborators; the result was a rich, playful, eclectic mix of work with a shared spirit called ‘Mark Hearld and Friends’ and made its debut at the end of 2009. Since this exhibition, The Gallery has hosted solo exhibitions by Mark Hearld, Ed Kluz, Emily Sutton and Angie Lewin. At the same time, The Gallery began a dialogue with St Jude’s about future joint projects and ‘Ten Printmakers’ is the outcome. ‘Ten Printmakers’ is a portfolio of prints inspired by Scotland; they are limited edition, original works exclusive to The Gallery. In addition to the prints, we are exhibiting one off works by each of the artists, to celebrate the rich diversity of their talent. The exhibition also sets out to contextualise the artists historically by including post war Modern British artists; Edward Bawden, Barbara Jones, Paul Nash, John Piper, Eric Ravilious, Michael Rothenstein, Julian Trevelyan and Edward Wadsworth will be represented. The careers of these artists have inspired and shaped the visual language of these printmakers. Simon Martin recently wrote ‘Mark Hearld: Work Book’, and was therefore the natural choice to introduce this exhibition. Simon Martin is a writer, art historian and is currently curator at Pallant House Gallery, Chichester and has most recently written a monograph on Edward Burra. We have created a special online catalogue to accompany this publication which illustrates all of the additional works: The Scottish Gallery St Jude’s Opposite: Wood engraving block for Angie Lewin’s ‘Alphabet and Feathers’

introduction Art Historians and critics love to categorise artists into groups. In the history of Modern British art there are many celebrated examples: the Vorticists, Bloomsbury, the Scottish Colourists, Euston Road, the Glasgow Boys, and the Independent Group, to name but a few. Although these labels often disguise the fact that the connections are not quite as coherent as posterity might present, there it is something alluringly neat about the idea of artists with shared concerns and intertwined social connections. Over the last few years an interesting grouping has developed around St Jude’s, a company that has led a revival in artist-designed fabrics, wallpapers and printmaking. The artists associated with St Jude’s represent a form of printmaking and design that is rooted in skilled and knowledge-based working, expressing the contemporary concern for a return to traditional craftsmanship that runs counter to the ubiquitous nature of digital design and image reproduction. Their work is characterised by an enthusiasm for landscape and nature, architecture, folk art and the approach of modern artists and designers who shared these interests, such as Edward Bawden, Eric Ravilious, Paul Nash, Barbara Jones, John Piper and Julian Trevelyan. It is an approach to creativity that is not limited by technique, and the artists associated with St Jude’s are all highly accomplished in various media, just as the aforementioned artists were as happy to be designing pattern papers, textiles and ceramics as they were producing oil paintings, prints or illustrated books. Beyond their shared association with St Jude’s there are common bonds of friendship and experience that connect the artists. For example, Emily Sutton and Michael Kirkman first met Mark Hearld when he was teaching at York College, the three later shared studios in York with Ed Kluz (not to forget the fact that Emily and Mark are now partners). Several of the artists have previously exhibited at The Scottish Gallery both individually and collectively as part of the 2009 exhibition ‘Mark Hearld and Friends’. One critic’s suggestion of a ‘New Bardfield’ (a reference to the village in Essex where Edward Bawden and Eric Ravilious lived in the 1930s) is perhaps tenuous, but there are undoubtedly strong associations: Chloë Cheese grew up in that very village as her parents Bernard Cheese and Sheila Robinson were part of the artists’ community around Bawden, whilst Christopher Brown was a student and assistant of Bawden. Yet looking at the ten prints presented in the exhibition it is clear that that there is not a shared style, but instead a great diversity of approach. Each of the artists has developed their own distinctive artistic voice, and whilst they may share interests, they are producing highly individual work that reflects their own experiences and training. Printmaking is a democratic process that enables artists to produce affordable and original artworks for a larger audience than that for their one-off works. Prints can develop ideas from other aspects of an artist’s work, but are complex

and unique artworks in their own right. It is fascinating to see how each artist has responded to the challenge of creating a print that relates to Scottish themes and expresses the country’s strong identity. Suggestions of Scottish music and dancing feature in several of the prints: robust Staffordshire china figures of Highland dancers nestle amongst delicately rendered pheasant feathers and plant-forms from Speyside in Angie Lewin’s lithograph, whilst a more ghoulish dance features in Christopher Brown’s linocut inspired by Robert Burns’ poem ‘Tam o’ Shanter’ in which the farmer Tam encounters witches dancing to the devil’s bagpipe tunes outside the Alloway Kirk as he shouts ‘Weel Done, cutty-sark!’ from his horse Meg. The Scottish artist Jonny Hannah’s screenprint expresses his enthusiasm for Edinburgh’s jazz and literature, including the unmistakable outline of the National Monument on Calton Hill against the night sky. Whimsical Scottish architectural motifs also feature in Chloë Cheese’s lithograph of Parliament Square in Edinburgh which conveys the sense of a transitory moment in an ancient city, Peter and Linda Green’s bold semi-abstract stencil prints of Gehry’s Maggie’s Centre in Dundee and Charles Jencks’ landform outside the Scottish National Gallery of Modern Art, and Ed Kluz’s nocturnal screenprint of the Dunmore Pineapple, conveying a sense of the Surreal qualities of this exotic and organic architectural folly in the midst of the Scottish landscape, inspired by a visit made at the time he was creating a series of collages depicting Scottish country houses such as Mavisbank, Mellerstain, Penicuik and the New Town of Edinburgh for his exhibition at The Scottish Gallery in 2011. That sense of place, the experience of being in Scotland, is important to the atmosphere of virtually all the prints. Both Michael Kirkman and Emily Sutton studied at Edinburgh School of Art, and memories of afternoons and evenings in the interior of The Canny Man’s pub in Morningside have informed Michael’s linocut, fused with complex visual references to the composition of Picasso’s 1957 ‘Minotaur’ print. Whilst his print is about social interaction and the types of people that frequent the bar, Emily Sutton’s screenprint of an interior of a Scottish fishing lodge has an empty chair, metaphorically waiting for us to take a seat by the roaring fire and inhabit the room in our imagination. This room, lined with prize catches preserved in boxes, is inspired in part by tales of her father’s fishing trips to Jura, but there is a thematic link to Mark Hearld’s fluid linocut of a Scottish salmon surrounded by abstract decorative marks suggesting the flowing water – perhaps a champion fish that had not yet been caught. Together this group of new prints presents a lively response to the inspiration of Scotland, but also showcases the work of ten of the most talented British printmakers working today. Their images may express a sense of the past in the present, of continuity with the British Mid-century modernists, but that it is by no means a nostalgic cul-de-sac. Each artist brings a myriad of other influences to their own work and they continue to look forward, creating work that speaks to contemporary concerns. Simon Martin

Christopher Brown (b. 1953)

Christopher Brown, born in London, studied Graphic Design at Middlesex University before attending the Royal College of Art, London. Chris was introduced to, and eventually assisted, Edward Bawden, the master of the linocut. It was Bawden who encouraged him to explore this medium. He was recently filmed cutting a linoblock for the new Edward Bawden Gallery at the Higgins Gallery, Bedford. In 2012 Merrell published ‘An Alphabet of London’ and currently he is working on ‘An Alphabet of England’. “Edward Bawden introduced me to the work of his friend Douglas Percy Bliss. His illustrations to the book ‘Devil in Scotland’ inspired me to make a print based on Burns’ poem ‘Tam O’Shanter’. The narrative is a gift for any illustrator: humour, the Devil, witches, a graveyard and the dead – perfect.”

Christopher Brown Weel done, Cutty-sark! 2013 linocut, 11 x 12.5 cms, edition of 25 ÂŁ80 unframed

Dreich day with dug, 2013 two colour linocut, 18.7 x 9 cms, edition of 15 ÂŁ110 unframed

Landlord, 2013 linocut, 16.2 x 7.5 cms, edition of 50, artwork for an ‘Alphabet of England’ £60 unframed

Landlady, 2013 linocut, 16.2 x 7 cms, edition of 50, artwork for an ‘Alphabet of England’ £60 unframed

Clockwise from top left: Claw and Paw, 2012, linocut, 5 x 3.5 cms Louche leopard, 2012, linocut, 9 x 4.5 cms Grunt, 2012, linocut, 5 x 7 cms Catts Porage Oats, linocut, 9.5 x 7.5 cms All from an edition of 50, artwork for ‘Albert for the High Jump - An Olympian Paw Print’ by Holly Skeet £55 each unframed

Top: Am I Late? 2013 linocut, 10 x 12 cms, edition of 50, artwork for an ‘Alphabet of England’ £60 unframed

Bottom: Gilbert and Sullivan, 2013 linocut, 9 x 10.5 cms, edition of 50, artwork for an ‘Alphabet of England’ £60 unframed

Home - Victorian linocut, 12 x 17 cms, edition of 20 ÂŁ150 unframed

Home - Elizabethan linocut, 12 x 17 cms, edition of 20 ÂŁ150 unframed

Home - Gothik linocut, 12 x 17 cms, edition of 20 ÂŁ150 unframed

Home - William and Mary linocut, 12 x 17 cms, edition of 20 ÂŁ150 unframed

Chloë Cheese (b. 1952)

Chloë Cheese, born in London, spent her childhood in the Essex village of Great Bardfield, observing the printmaking of her parents Bernard Cheese and Sheila Robinson – and their friends Edward Bawden and Michael Rothenstein. Chloë studied at Cambridge Art School before attending the Royal College of Art, London. Selected commissions House of Commons, a lithograph of The Vote Office; illustrations for ‘A Passion for Pasta’ by Antonio Carluccio; illustrations for ‘Walking the Bridge of Your Nose’ poems chosen by Michael Rosen for children. Public collections V&A, London; Arts Council of Great Britain; House of Commons; Tate Britain (print); and Museum of London “The print is based on a drawing I made in early spring when visiting Edinburgh. I wanted to evoke a sense of the grand architecture as seen by passers-by now and how they might relate to the statues from a different era.”

ChloĂŤ Cheese Passing Through Parliament Square, Edinburgh 2013 lithograph on Somerset paper, 55 x 41.5 cms (printed at Curwen Studio with additional stencilled colour by the artist), edition of 30 ÂŁ225 unframed

A Cold Spring in New Town Edinburgh, 2013 lithograph, 48 x 34 cms, printed by John White with additional stencilled colour by the artist. Based on sketches made outside 2 Royal Circus in pencil and watercolour on a cold windy day. The bare trees are reflected in the upstairs windows. Printed on Fabriano Artistico paper. Edition of 10. One artist proof, framed. ÂŁ225 unframed

Morningside Still Life, 2013 watercolour on Arches Satine paper, 36 x 51 cms ÂŁ500 framed

Living in the Dolls House, 2011 lithograph, printed by John White with additional stencilled colour by the artist. 24 x 18 cms, edition of 20. ÂŁ110 unframed

Untidy Dolls House Kitchen, 2011 lithograph, printed by John White with additional stencilled colour by the artist. 24 x 18 cms, edition of 20. ÂŁ110 unframed

Tin Bird in the Dolls House, 2011 lithograph, printed by John White with additional stencilled colour by the artist. 24 x 18 cms, edition of 20. ÂŁ110 unframed

Duomo Pietrasanta, 2008 monoprint, 76 x 56 cms. Made on an offset litho press with additional work by the artist. Printed with Alan Cox Sky Editions, London, on somerset paper, using drawings and notes made in Pietrasanta Italy. ÂŁ595 framed

Campo S. Lorenzo Venice, 2012 monoprint, 46.5 x 36 cms on Somerset paper. Printed by the artist from drawings made in Venice using the press in her kitchen. ÂŁ340 framed

A Pear from Venice, 2011 watercolour on RWS paper, 23 x 29 cms ÂŁ210 framed

Artichokes and Coeur - Dieppe, 2006 lithograph, 53.5 x 42.5 cms, printed at Curwen Chilford with additional stencilled colour, edition of 50 ÂŁ145 unframed

Moules de Bouchot - Dieppe, 2007 lithograph, 54 x 44.5 cms, printed at Curwen Chilford with additional stencilled colour by the artist, edition of 50 ÂŁ165 unframed

Roses at 5 Past 9 Dieppe, 2007 lithograph, 54 x 44.5 cms, printed at Curwen Chilford with additional stencilled colour by the artist, edition of 50 ÂŁ165 unframed

linda green (b. 1943)

Linda Green, born in Highgate, London, is a self taught printmaker. Her initial interest in the visual arts began following a period as a senior administrator at the Hornsey College of Art followed by over 20 years as Registrar in the Faculty of Art and Design at Middlesex University. In collaboration with her husband Peter she has developed a range of direct relief printing processes, without using a press, including a method of paper cut stencils which she now uses in her own printmaking. Her work has been exhibited at the Royal Academy Summer Exhibition, the Mall Galleries and Bankside Gallery in London. The two prints produced for this exhibition continue to explore Linda and Peter Green’s collaborative working method. The original images, worked from drawings and photographs, were developed by Linda, Peter was then involved in the formalisation of the design and cutting of the stencils. It’s a process they have developed over recent years and also forms the basis of the design of their printed fabrics for St Jude’s.

Peter Green, OBE and Linda Green Jencks – Landform, Edinburgh 2013 stencil print, 20 x 29 cms, edition of 6 £185 unframed

Peter Green


(b. 1933)

Peter Green studied at Brighton College of Art and the Institute of Education University of London. Having qualified as a teacher, he initially taught at a secondary school in East London where he established a thriving school printing press, producing small books and original prints. During this time he developed his own work as a printmaker and was elected to membership of the Royal Society of Painter-Printmakers in 1958. In the early 1960s the director of London Graphics Arts (also known as The London Arts Group), Eugene Schuster, recruited Peter who joined an impressive list of young printmakers. Schuster held an extensive range of prints by European Modern masters (including Picasso and Matisse) and commissioned new editions from young contemporary artists for placing primarily in public buildings across Europe and North America. Peter produced a number of large plywood block prints, printed without a press, with most of the colour being applied directly using paper stencils – a method that the artist uses to this day.

Peter Green, OBE and Linda Green Gehry – Maggie’s Centre, Dundee 2013 stencil print, 19 x 27 cms, edition of 6 £185 unframed

Harvest Night, 1967 woodcut & stencil print, 73.5 x 58 cms, artist proof ÂŁ645 framed

Floating Yellow, 1969 woodcut & stencil print, 65 x 40 cms, artist proof ÂŁ645 framed

Fire Phantoms, 2012 woodcut & stencil print, 37 x 34 cms, edition of 8 ÂŁ245 unframed

Floating Night, 1966 woodcut & stencil print, 69 x 54 cms, artist proof ÂŁ645 framed

Coast Warrior, 2012 woodcut & stencil print, 35 x 34 cms, edition of 8 ÂŁ245 unframed

Wind Phantom, 2012 woodcut & stencil print, 37 x 34 cms, edition of 10 ÂŁ245 unframed

Shore Sentinel, 2012 woodcut & stencil print, 38 x 36.5 cms, edition of 8 ÂŁ245 unframed

Evening Estuary, 2013 woodcut & stencil print, 34 x 36.5 cms, edition of 8 ÂŁ245 unframed

Jonny Hannah (b.1971)

Jonny Hannah is from Dunfermline. After finding his feet at Liverpool Art School and attending the Royal College of Art, London he has spent the last 15 years working hard as a freelance illustrator. He has a need to spend hours in a print room, usually the one at Southampton Solent School of Art & Design, where he runs the illustration course. Selected commissions The Daily Telegraph; The New York Times; The St. Kilda Courier Awards Gold award at Association of Illustrators Images awards, 2011. “‘The Nightsorter’s Blues’ is inspired by a little known song of the same name, by an obscure Edinburgh band, then called the Alvy Singers. I played guitar with them, from 1990-93 and this song has always had a profound influence on me. I drew this print on a Sunday afternoon, exposed it onto screens with the additional separations by Monday lunchtime, and printed the black, final layer on Tuesday morning. I’ve included the folly on Calton Hill, as it’s important to walk up this hill any time you are in Auld Reekie.”

Jonny Hannah The Nightsorter’s Blues 2013 screenprint, 30 x 32 cms, edition of 50 £55 unframed

Erroll Garner, 2013 paint on wood, 50 x 37 cms ÂŁ275 framed

Footsteps, 2013 screenprint & letterpress, 42 x 62 cms, edition of 50 ÂŁ35 unframed

Jimmy Shand & his band, 2013 paint on wood, 15 x 29 cms £140 framed

Merry Muses, 2013 paint on wood, 14 x 20 cms £120 framed

Jean Vigo's L'atalante, 2013 screenprint, edition of 50, 34 x 30 cms ÂŁ90 unframed

The Old Man of Fife, 2013 screenprint, 50 x 50 cms, edition of 50 ÂŁ120 unframed

Barnacle Bill, 2013 wood engraving, 15 x 12 cms, edition of 100 ÂŁ25 unframed

The Cakes & Ale Book of Fifies, Scaffies & Zulus, 2013 painted book, 16 x 23 cms ÂŁ95 framed

The Cakes & Ale Book of Tweed, 2013 painted book, 21 x 27 cms ÂŁ95 framed

Mark Hearld (b. 1974)

Mark Hearld studied illustration at Glasgow School of Art and then completed an MA in Natural History Illustration at the Royal College of Art, London. His work is based on his observations of the natural world, influenced by mid twentieth century Neo-Romanticism and the gaiety of 1930s Modernism. Selected commissions Faber & Faber; Tate Museums; ‘A First Book of Nature’ published by Walker Books. In Autumn 2012 Merrell Books published ‘Mark Hearld’s Work Book’ – the first book devoted to Mark’s work. Awards Elle Decoration British Design Award 2012 for ‘Harvest Hare’ wallpaper for St Jude’s. Mark is currently working as artist in residence for York Museums Trust, towards an exhibition that will open in Spring 2015. “I printed this linocut on a large Albion press at Hull College which has recently been rescued from a school due for demolition. The size of the press meant it was possible to make a pretty large fish. I printed it myself with the help of one of my willing colleagues. An iconic creature of the highland rivers, I hope to catch the energy of the salmon on its course upstream.”

Mark Hearld Spey Salmon 2013 two colour linocut, 28 x 78 cms, edition of 50 ÂŁ295 unframed

Mount Garden with Pigeons, 2013 collage and gouache on paper, 70 x 101 cms ÂŁ1450

Hat Box Squirrels, 2012 six colour lithograph, 56 x 81 cms, edition of 95, printed at the Curwen Studio ÂŁ275 unframed

Autumn Fox, 2012 four colour lithograph, 63 x 85 cms, edition of 150, printed on Somerset paper at the Curwen Studio ÂŁ275 unframed

Owl, 2012 linocut, 29.5 x 20 cms, edition of 95 £145 unframed

Squirrel, 2012 linocut, 21 x 25 cms, edition of 95 £145 unframed

The Flock, 2012 screenprint, 43 x 61 cms, artists proof ÂŁ375 framed

Michael Kirkman (b. 1986)

Having studied at Edinburgh College of Art, Michael Kirkman graduated from an MA course at the Royal College of Art, London in 2010. Michael’s inspiration comes from a need to communicate moments in time that seem strange or extraordinary, to capture what goes unnoticed. Some important influences include Eduardo Paolozzi, Mimmo Paladino, Balthus, Edward Burra and Jonathan Gibbs. Selected commissions National Theatre and Palace of Westminster to celebrate the Queen’s Jubilee. Public collections York Art Gallery; Palace of Westminster “The Canny Man’s was one of my favourite pubs during my time as a student in Edinburgh. It was always a good place to go drinking and drawing because it was rich in both objects and personalities.”

Michael Kirkman The Canny Man’s 2013 three colour linocut, 42 x 62 cms, edition of 30 £225 unframed

Saturday Morning, Saturday Morning, 2013 pencil on paper, 67 x 51 cms ÂŁ425 framed

Stubbs’ Monkey, 2013 colour reduction lino cut, 42 x 30 cms, edition of 14 £195 unframed

Between Awake and Morning, 2011 colour lino cut, 73 x 54 cms, edition of 30 ÂŁ295 unframed

Middle Ground, 2013 linocut, 30 x 43 cms, edition of 30 ÂŁ195 unframed

Ed Kluz (b.1980)

Ed Kluz, born in Suffolk, studied at Winchester School of Art. Ed is fascinated by the  buildings, landscapes  and  objects of our cultural heritage. He seeks out the eccentric, the lost and the overlooked and in response creates works which re-examine and refresh our perception of the past.  At an early age he developed an interest in English Romanticism which remains at the core of his work. As an artist and designer he embraces many forms of image making, from printmaking and textile design to book illustration and paper collage.  Selected commissions Ben Pentreath Ltd; Faber & Faber; Little Toller Books; V&A; Fabric designs for St. Jude’s. “I visited the Dunmore Pineapple with my partner one summer evening. With the warm evening light already on the darkening it felt somehow like we had landed in a corner of Italy. The exotic little building recalled something of the spirit of the famous gardens at Bomarzo in central Italy, with their monumental stone monsters and peculiar pavilions. It was constructed in the late 18th century as a summer house which overlooked a glasshouse in which precious pineapples were gently coaxed by fire-warmed air to grow in this unlikely northern setting. The main house to which the pineapple once belonged now lies as a foreboding ruin at the centre of a forest a little way beyond the walled garden, its atmosphere quite the opposite to this enchanting and playful folly.”

Ed Kluz The Dunmore Pineapple 2013 screenprint, 15 x 22 cms, edition of 30 ÂŁ125 unframed

The Dunmore Pineapple, 2011 - 2013 paper collage and mixed media 43 cms diameter ÂŁ800 framed

Restoration London, 2012 linocut, 20 x 40 cms, edition of 17 (artist proof) ÂŁ400 framed ÂŁ345 unframed

The Surprise View, Studley Royal, North Yorkshire, 2011 screenprint, 23 x 30 cms, edition of 50 £225 framed £165 unframed

Angie Lewin (b. 1963)

Angie Lewin was born in Cheshire and trained at Central School of Art and Design, London before attending Camberwell School of Arts and Crafts and Central St Martins College of Art and Design, London. Selected commissions Fabric designs for St. Jude’s and Liberty of London. Book jacket designs for Faber & Faber, Conran Octopus, Penguin and Merrell. Public collections V&A London; The Ashmolean Museum, Oxford; The London Institute; The University of Aberystwyth; Art for Hospitals and Hospices Collection “On my studio shelves I display feathers and grasses, collected along with other objects on walks and sketching trips in an eclectic selection of cups and pots. In this lithograph (which I editioned at Edinburgh Printmakers) an elegant Staffordshire Highland couple from my studio mantelpiece stand amongst the gathered objects.”

Angie Lewin A Highland Gathering 2013 lithograph, 28.5 x 39 cms, edition of 45 ÂŁ235 unframed

Ballindaloch Pot, 2013 watercolour drawing, 36 x 45 cms ÂŁ875 framed

White Cup with Spey Seedheads, 2012 watercolour drawing, 42.5 x 38.5 cms ÂŁ875 framed

Small Pot of Seaweed & Thrift, 2012 watercolour drawing, 21 x 22 cms ÂŁ525 framed

Piper with Coastal Grasses, 2013 watercolour drawing, 35 x 54 cms ÂŁ875 framed

Ben Rinnes, Jug with Feathers, 2012 watercolour drawing, 40 x 64 cms ÂŁ1225 framed

By The Track stone lithograph, 26 x 22 cms, edition of 6 ÂŁ285 unframed

Alphabet & Feathers wood engraving, 10 x 15 cms, edition of 50 ÂŁ325 framed

The Moonlit Cup linocut, 56 x 43 cms, edition of 45 ÂŁ565 framed

Aldeburgh Pot lithograph, 31 x 47 cms, edition of 45 ÂŁ275 unframed

Autumn Garden, Norfolk screenprint, 58.5 x 41 cms, edition of 85 ÂŁ335 unframed

Polwick II linocut, 28.5 x 38 cms, edition of 75 ÂŁ215 unframed

Emily Sutton (b. 1983)

Born and raised in the depths of North Yorkshire, Emily graduated from Edinburgh College of Art in 2008. With a lifelong love of drawing and painting, Emily uses a combination of these approaches in her current work. Emily is inspired by the relics of a bygone era and afternoons immersed in the contents of the Museum of Childhood in Edinburgh. She recently illustrated a children’s book for the V&A Museum, London. Awards Elle Decoration British Design Award 2011 for ‘Curiosity Shop’ fabric for St Jude’s. Selected commissions Faber & Faber; Penguin Books; Random House; Walker Books; Hermes; Bettys & Taylors; Fortnum & Mason; The New York Times; V&A, London. “This print is of an imagined highland fishing lodge, complete with a comprehensive collection of stuffed fish. A Scottish deerhound sleeps by the fire awaiting the return of his master from a long day beside the river.”

Emily Sutton in collaboration with Daniel Bugg of the Penfold Press The Fishing Lodge 2013 screenprint, 50 x 67 cms, edition of 75 ÂŁ225 unframed

The Highland Pony, 2013 watercolour and gouache, 26.5 x 30.5 cms ÂŁ495

The Red Cupboard, 2013 watercolour, 76.5 x 57 cms ÂŁ1400

The Studio Fireplace, 2013 watercolour, 76.5 x 57 cms ÂŁ1400

Fishing Tackle, 2013 watercolour, 39 x 39 cms ÂŁ495 framed

Still Life with Ginger Beer, 2013 watercolour and gouache, 38 x 21 cms ÂŁ495

Garden at Old Hall, 2013 watercolour, 36.5 x 27.5 cms ÂŁ495

Old Hall, South Burlingham watercolour, 38 x 55 cms ÂŁ575

A is for Accordion, 2010 screenprint, 52 x 71.5 cms, edition of 75 £225 unframed B is for Bear, 2010 screenprint, 55 x 75 cms, edition of 75 £225 unframed D is for Dolls’ House, 2010 screenprint, 53 x 71 cms, edition of 75 £225 unframed

E is for Elephant, 2011 screenprint, 53 x 71 cms, edition of 75 £225 unframed G is for Greenhouse, 2012 screenprint, 53 x 71 cms, edition of 75 £225 unframed H is for Horse and Hound 2012 screenprint, 53 x 71 cms, edition of 75 £225 unframed

MODERN BRITISH PAINTINGS AND PRINTS Edward Bawden Barbara Jones Paul Nash John Piper Eric Ravilious Michael Rothenstein Julian Trevelyan Edward Wadsworth

The Great Bardfield Artists The Great Bardfield Artists were a community of artists who lived in Great Bardfield, a village in North-West Essex, England, during the middle years of the 20th century. The principal artists who lived there between 1932 and 1970 were John Aldridge, Edward Bawden, George Chapman, Stanley Clifford-Smith, Audrey Cruddas, Walter Hoyle, Eric Ravilious, Sheila Robinson, Michael Rothenstein, Kenneth Rowntree and Marianne Straub. The early 1960s saw the majority of the Great Bardfield artists leave the village.

School Prints - A Brief History Towards the end of the Second World War Brenda Rawnsley and her husband Derek had the idea of bringing contemporary art to young children who would otherwise not have had the opportunity to see ‘good’ work. Within a few years Brenda had set up School Prints Ltd to sell original lithographs to schools and had commissioned several of the most important living artists for her scheme. The printing was undertaken by the Baynard Press from plates drawn by the artists, who were asked to use no more than six colours. The prints, being original lithographs, were often the first real art seen by young people of that period and are typical of their time.

Biographies & portraits for this section of the catalogue have been sourced from:,,,, (L to R) Edward Bawden, George Chapman, Lawrence Scarfe (guest artist), Chloe Cheese (child), Sheila Robinson, Michael Rothenstein, Stanley Clifford-Smith & Walter Hoyle. Sourced from: Bottom: Eric and Tirzah Ravilious painting the Morecambe mural, 1933. Sourced from

edward bawden (1903 – 1989) Edward Bawden, born at Braintree, Essex studied at the Cambridge School of Art and at the Royal College of Art, London (RCA). Here he met his fellow student and future collaborator, Eric Ravilious; the pair were described by their teacher, Paul Nash, as “an extraordinary outbreak of talent”. By 1930 Bawden was working one day a week for the Curwen Press, producing illustrations for leading accounts such as London Transport, Westminster Bank, Twinings and Poole Potteries. In the late 1930’s Bawden moved to Great Bardfield, Essex, only a few miles from Braintree, where he was born. Following his move to the country he began to paint more, in addition to his commercial design work, developing his watercolour technique. During the Second World War Bawden was nominated Official War Artist. He taught at the RCA from 1930 - 1963 (minus the War years) and in 1968, became a tutor at the Royal Academy Schools and Senior Lecturer at Leicester College of Art and Design. During the late 1950's and the 1960's Bawden produced the linocut and lithographs for which he is perhaps best known. He produced large prints on Kew Gardens and Brighton; on Liverpool Street Station and a series on the London Markets. Public Collections holding Bawden include: British Museum Print Rooms; Cecil Higgins Art Gallery; Chelmsford Museum; Fry Art Gallery; Victoria & Albert Museum

Caerhays Castle, Cornwall – Portico Front, 1983 Watercolour 50 x 65 cms Signed lower right; signed, titled and dated verso Provenance Miss E Stevens The David Paul Gallery, Chichester The Fine Art Society £8,500 framed

BARBARA JONES (1912 – 1978) Barbara Jones was born in Croydon, Surrey, where her family ran a high street saddlery. She studied at the Croydon School of Art and the Royal College of Art, in the footsteps of Edward Bawden, John Piper and Eric Ravilious. Like them, she was interested in the architecture, landscape and the folk and decorative arts of Britain. During the Second World War she was commissioned by The Pilgrim Trust to document historic buildings at risk from war damage. The paintings she produced were included in the landmark publication Recording Britain (1946-1949) and are now held at the Victoria & Albert Museum. In 1951 she curated the ‘Black Eyes and Lemonade’ exhibition at the Whitechapel Gallery, as part of the Festival of Britain. She also produced lithographs and was regularly commissioned to paint large murals, notably for Selfridges, the Commonwealth Institute and for the Design Council’s ‘Britain Can Make It’ exhibition. She was a prolific illustrator of books, and wrote and illustrated several of her own, including The Isle of Wight, Follies and Grottoes, Twit and Howlett and Design for Death. Most of the works, because of the nature of where they were created, have now disappeared. During the 1940s Barbara Jones set about documenting this everyday art throughout Britain, visiting fairgrounds, tattoo parlours, taxidermists, houseboats, high street shops, seaside piers and amusement arcades. She befriended people who lived afloat on redundant canalways and studied the way they decorated their boats. She spent day after day in workshops where roundabouts were made, and watched in awe as these labyrinths of wire and painted wood were slotted into place at the fair. Her journey was an epic undertaking and her achievement remains groundbreaking.

The Fairground, c.1940's Lithograph 49.5 x 76 cms Signed in plate From The School Prints series ÂŁ200 unframed

paul nash (1889 – 1946) Paul Nash was born in London and moved, soon after, to Iver Heath in the Buckingham countryside. He attended Bolt Court Commercial Art School and The Slade School of Fine Art (1910-11), and subsequent to his training, he produced designs for Roger Fry's Omega Workshops. After the War, he taught in the Design School at the Royal College of Art where his students included Eric Ravilious and Edward Bawden. Nash worked in a wide variety of media: oil, watercolour and wood engraving, as well as ceramics and glass. He also designed book jackets and textiles. Nash was important because, in his capacity of Official War Artist in both World Wars, he painted some of the most iconic images. He helped introduce the British art establishment and public to the excitements and potentials of European Modernism, and he helped to create the Surrealist movement in Britain. Nash’s travels between the wars took him to Paris and to Italy. Here he encountered the avant-garde works of Matisse and Picasso, and of Georgio de Chirico who would become a leading inspiration for the Surrealists. Each of these artists would influence Nash’s work. In a metaphorical sense Nash travelled towards the same ground as these artists: away, that is, from the representational characteristic of his early work, via the abstract and towards the symbolic as evidenced in his later work. Public Collections holding works by Paul Nash include: Tate, London; Aberdeen Art Gallery; V&A; British Museum; Ashmolean Museum; Imperial War Museum; Leeds Museums and Galleries (City Art Gallery).

Landscape at Rye, c.1932 Watercolour on paper 38 x 56 cms Signed lower left, annotated Camber Castle by Paul Nash 1924 verso Exhibited Roland, Browse and Delbanco ÂŁ20,000 framed

john piper (1903 - 1992) Piper, born in Epsom, Surrey, trained at the Richmond School of Art, followed by the Royal College of Art, London. Piper was appointed an official war artist in World War II from 1940-1942. The morning after the air raid that destroyed Coventry Cathedral, Piper produced his first painting of bomb damage, Interior of Coventry Cathedral. Sir Osbert Sitwell invited Piper to Renishaw Hall to paint the house and illustrate an autobiography he was writing and Piper made his first of many visits to the estate in 1942. The family retain 70 of his pictures and there is a display at the hall. Along with Patrick Reyntiens, Piper designed the stained glass windows for the new Coventry Cathedral, and later for the Chapel of Robinson College, Cambridge. He designed windows for many smaller churches and created tapestries for Chichester Cathedral and Hereford Cathedral. He was a set designer for the theatre, including the Kenton Theatre in Henley and Llandaff Cathedral in Cardiff. He designed many of the premiere productions of Benjamin Britten’s operas, as well as for some of the operas of Alun Hoddinott. 180 of his works are in the Tate collection, including etchings and some earlier abstractions. Major retrospective exhibitions have been held at Tate Britain (1983–1984), the Dulwich Picture Gallery, the Imperial War Museum, the River and Rowing Museum,and the Museum of Reading.

Cottage by the Mill, c.1940/41 Ink, watercolour and gouache laid on paper 18 x 19.5 cms Signed in black ink lower right Titled below image Exhibitions Aspects of Modern British and Irish Art, Austin/Desmond Fine Art, London, 2004, ÂŁ14,000 framed

John Piper Nursery Frieze II, 1937 Colour Lithograph 46 x 121.4 cms Signed in pencil Published by Contemporary Lithographs Ltd. Printed by Waterlow and Sons on machine-made lithographic cartridge paper. ÂŁ6,500 framed

eric ravilious (1903 - 1942) Ravilious was born in Acton but grew up in Eastbourne, Sussex, where he studied until receipt of a scholarship to the Royal College of Art. Student in the Design School of the College, Ravilious was taught by Paul Nash and became friends, and sometime work companion, with Edward Bawden. Ravilious went on to design for Wedgwood who, in 1937, brought out the George VI commemorative Coronation Mug, and in the same year the Alphabet Mug and Nursery Ware designs. In 1938 Country Life published the book High Street, by J. M. Richards, for which Ravilious supplied a series of lithographs documenting the charms of certain Victorian high street shops. Ravilious was appointed Official War Artist in 1940. His watercolours during this period document the setting up of coastal defences at, amongst other places, Newhaven in Sussex; he also worked on a series of lithographs which record life as a submariner patrolling the Channel waters. In 1942, aged 39, Ravilious was posted to Iceland, and in September he participated in an air/sea rescue on board a Hudson plane in search of an aircraft that had disappeared on the previous day. The Hudson itself, however, was lost and Ravilious, along with four others, never returned from this mission. Public Collections holding Ravilious include: Aberdeen Art Gallery; Ashmolean Museum; British Museum; Imperial War Museum; London’s Transport Museum, Ministry of Defence Art Collection; Towner Art Gallery; Victoria & Albert Museum; Wedgwood Museum Trust.

Naturalist: Furrier: Plumassier, c. 1938 Lithograph 15 x 13.5 cms Unsigned From the suite High Street. 24 coloured lithographs commissioned in 1938 by Country Life. Printed by the renowned Curwen Press ÂŁ450 framed

Letter Maker, c. 1938 Lithograph 15.3 x 13.5 cms Unsigned From the suite High Street. 24 coloured lithographs commissioned in 1938 by Country Life. Printed by the renowned Curwen Press ÂŁ450 framed

Second Hand Furniture and Effects, c. 1938 Lithograph 20 x 14 cms Unsigned From the suite High Street. 24 coloured lithographs commissioned in 1938 by Country Life. Printed by the renowned Curwen Press ÂŁ450 framed

Theatrical Properties, c. 1938 Lithograph 17 x 14.8 cms Unsigned From the suite High Street. 24 coloured lithographs commissioned in 1938 by Country Life. Printed by the renowned Curwen Press ÂŁ450 framed

michael rothenstein (1908 - 1993) Born in Hampstead, London, was the youngest of four. He studied at Chelsea Polytechnic and Central School of Arts and Crafts, 1924-7. He had his first one-man show in 1938 and during World War II participated in the Pilgrim Trust Recording Britain project. In the early 1940s he moved to the north Essex village of Great Bardfield. After the War, he taught printmaking at Camberwell School of Art and was Art Fellow at Sheffield University in 1962. At Great Bardfield there was a small resident art community that included John Aldridge, Edward Bawden and Kenneth Rowntree. Rothenstein took an important role in organising the Great Bardfield Artists exhibitions during the 1950s. These exhibitions became nationally known and attracted thousands of visitors. Rothenstein became one of the most experimental printmakers in Britain during the ‘50s and ’60s. As well as found objects such as wood offcuts and metal debris, he incorporated fresh 20th century imagery into his relief prints, combining photographic material with traditional woodcuts and linocuts. He illustrated several books including the first UK edition of John Steinbeck’s Of Mice and Men (1937). Numerous major galleries currently hold his work, including Tate Gallery, London and the Victoria and Albert Museum, London. He was made Hon. RE and elected a Royal Academician (RA) in 1983.

The Blue Window, 1943 Watercolour, pen, ink and pencil 25.4 x 33 cms Signed top left Exhibited The Redfern Gallery Provenance W T Oliver Esq. ÂŁ6,000 framed

Timber Felling, c.1940's Lithograph 49.5 x 76 cms Signed in plate From The School Prints series ÂŁ200 unframed

julian trevelyan (1910 - 1988) Julian Trevelyan, born in Surrey, was a renowned artist and printmaker. Trevelyan was educated at Bedales School and Trinity College, Cambridge, where he read English Literature. He moved to Paris to become an artist, enrolling at Atelier Dix-Sept, Stanley William Hayter’s engraving school, where he learned about etching. He worked alongside famous artists including Max Ernst, Joan Miró and Pablo Picasso. In 1935, Trevelyan bought Durham Wharf, beside the River Thames in Hammersmith, London. This became his home and studio for the rest of his life and was a source of artistic inspiration to him. He became a confirmed Surrealist and exhibited at the International Surrealist Exhibition, held at the New Burlington Galleries in London. During the Second World War Trevelyan served as a Camouflage Officer. From 1950 to 1955, he taught history of art and etching at the Chelsea School of Art. During 1955– 63, he was tutor of engraving at the Royal College of Art, rising to Head of the Etching Department where he was influential to many younger printmakers, including David Hockney and Norman Ackroyd. Trevelyan’s first solo exhibition was at the Lefevre Gallery in 1937. In July 1986, he was awarded a senior fellowship at the Royal College of Art and in September 1987 he was appointed a Royal Academician. Trevelyan married his second wife, painter Mary Fedden, in 1951. To celebrate the centenary of his birth, an exhibition of his prints was held at Pallant House Gallery in Chichester in 2010. 105 of his artworks are now held in the collection of the Tate Gallery.

Harbour, c.1940's Lithograph 49.5 x 76 cms Signed in plate From The School Prints series ÂŁ350 unframed

EDWARD WADSWORTH (1889 - 1949) Wadsworth was born in Cleckheaton,Yorkshire. After schooling in Edinburgh, he wanted instead to study art. His father sent him to study machine draughtsmanship at the Knirr School of Art, Munich. In Munich, Wadsworth spent as much time exploring non-technical drawing, printmaking and painting as attending to the subject for which he was enrolled. His desire to study painting was only strengthened, and he returned to England, not to take up work as a draughtsman, but to enrol at the Bradford School of Art, before winning a scholarship to attend the Slade School of Art, London (1909-1912). During the war he was contracted to work as a camouflage artist painting the supply ships departing from British ports. After the war, however, he left for the Black Country, for extended excursions to capture coal- quarries, furnaces and slag heaps in a series of ink and wash works which met, when exhibited in the Leicester Galleries 1920, with considerable acclaim. In the following year, Wadsworth travelled to Italy where he discovered the medium of tempera. Using tempera he produced a series of paintings of ports and harbours, one of which, Regalia (1928) was bought by the Tate Gallery. Wadsworth would continue to use tempera from this point on in his work. In the early thirties, he joined the International Abstraction-Creation group and Paul Nash’s Unit One. His work whilst affiliated with these groups is characterised by more purely abstract depictions. At the end of his life, from 1945 till his death, he would again explore more purely abstract forms. But in the mid-thirties he returned to his maritime subject matter, to semi-abstract images of shipping, quaysides and port facilities, and these paintings are the ones for which Wadsworth is now, perhaps, best known. Public Collections holding works by Wadsworth: Tate Gallery, London; Victoria & Albert Museum, London; National Gallery of Canada, Ottawa; London’s Transport Museum; Royal Pavilion of Art, Brighton.

Signals, 1942 Colour lithograph 101 x 76 cms Signed in the stone, also with the artists name and the title within the decorative border. Published by the Council for Enlightenment of Music and the Arts (C.E.M.A.) ÂŁ4,000 framed

Published by The Scottish Gallery to coincide with the exhibition Ten Printmakers: St Jude’s at The Scottish Gallery 3 – 27 July 2013 Exhibition can be viewed online at Photography credits: Chris Brown by Jamie Harris Ed Kluz by Alun Callender Chloë Cheese by Florence Shaw The Scottish Gallery would like to thank Angie & Simon Lewin of St Jude’s, the artists, Simon Martin, Austin Desmond Fine Art, Goldmark. Particular thanks to Mark Hearld for hand writing the front cover. ISBN: 978-1-905146-78-9 Designed by Printed by J Thomson Colour Printers All rights reserved. No part of this catalogue may be reproduced in any form by print, photocopy or by any other means, without the permission of the copyright holders and of the publishers.

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